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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:03,170 --> 00:00:04,160 ♪ 2 00:00:04,160 --> 00:00:07,223 >>> HELLO FROM HOLLYWOOD. YOU'RE LOOKING AT A LIVE SHOT OF 3 00:00:07,223 --> 00:00:11,160 THE MOST FAMOUS ARRIVALS CARPET IN THE WORLD, AND IN JUST A FEW 4 00:00:11,160 --> 00:00:14,530 HOURS, THE BIGGEST STARS ON THE PLANET WILL BE HERE ALL DRESSED 5 00:00:14,530 --> 00:00:19,569 TO IMPRESS AND CELEBRATE THE BEST IN MFILM. 6 00:00:19,569 --> 00:00:27,276 >> IT IS OSCAR SUNDAY, AS WE COUNT DOWN TO THE 95th ANNUAL 7 00:00:27,276 --> 00:00:29,212 ACADEMY AWARDS. 8 00:00:29,212 --> 00:00:33,483 >> THIS IS AN ABC NEWS SPECIAL. RIGHT NOW, OSCAR SUNDAY HAS 9 00:00:33,483 --> 00:00:37,153 ARRIVED. IT'S THE MOST IMPORTANT DAY IN 10 00:00:37,153 --> 00:00:39,622 HOLLYWOOD, AND THE STARS ARE ALMOST HERE. 11 00:00:39,622 --> 00:00:41,424 YOUR FAVORITES ARE BACK. 12 00:00:41,424 --> 00:00:43,559 >> YOU GUYS! OH, MY GOSH. 13 00:00:43,559 --> 00:00:46,529 >> AND SO IS THE MOST FAMOUS RED CARPET IN THE WORLD. 14 00:00:46,529 --> 00:00:48,464 ⎣> LOOK AT ME NOW. I DID IT. 15 00:00:48,464 --> 00:00:54,170 >> IN JUST A FEW HOURS, THE BIGGEST MOVIE STARS ON THE 16 00:00:54,170 --> 00:00:57,206 PLANET WILL BE HERE TO CELEBRATE THE BEST IN FILM. 17 00:00:57,206 --> 00:00:59,509 >> I'M SO HAPPY RIGHT NOW, I COULD CRY. 18 00:00:59,509 --> 00:01:01,611 >> WHO WILL TAKE HOME OSCAR GOLD? 19 00:01:01,611 --> 00:01:02,512 >> WHAT IS THIS? 20 00:01:02,512 --> 00:01:07,483 >> AND WHAT WILL SURPRISE THOSE WATCHING AROUND THE GLOBE? 21 00:01:07,483 --> 00:01:10,553 >> THAT WAS A -- THE GREATEST NIGHT IN THE HISTORY OF 22 00:01:10,553 --> 00:01:11,220 TELEVISION. 23 00:01:11,220 --> 00:01:12,455 >> JIMMY KIMMEL IS BACK. 24 00:01:12,455 --> 00:01:16,292 >> I HAVE A STOPWATCH. THE MOMENT YOU ARE HANDED THAT 25 00:01:16,292 --> 00:01:19,228 OSCAR, THE CLOCK WILL START TICKING. 26 00:01:19,228 --> 00:01:21,230 SO GET UP HERE, GRAB IT, AND GO. 27 00:01:21,230 --> 00:01:23,433 >> WE ARE BRINGING YOU EVERYTHING YOU NEED TO KNOW TO 28 00:01:23,433 --> 00:01:27,470 GET READY FOR THE BIG SHOW. INTERVIEWS WITH TONIGHT'S BIG 29 00:01:27,470 --> 00:01:27,603 NOMINEES. 30 00:01:27,603 --> 00:01:30,707 >> OKAY, IS THIS YOUR GO-TO FIRST QUESTION? 31 00:01:30,707 --> 00:01:32,308 >> HERE WE ARE. 32 00:01:32,308 --> 00:01:36,612 >> I CANNOT BELIEVE I'M AN OSCAR NOMINATED ACTOR. 33 00:01:36,612 --> 00:01:38,481 >> PLUS, WE OPEN THE VAULT TO 34 00:01:38,481 --> 00:01:46,656 BRING YOU THE RARELY SEEN EARLY 35 00:01:46,656 --> 00:01:50,426 PERFORMANCES, AND THE LOOKS THAT WILL DAZZLE, AS HOLLYWOOD SHINES 36 00:01:50,426 --> 00:01:55,465 FOR THE CAMERAS. THIS IS YOUR OFFICIAL COUNTDOWN 37 00:01:55,465 --> 00:01:59,502 TO THE 95th OSCARS. AND IT BEGINS RIGHT NOW, RIGHT 38 00:01:59,502 --> 00:02:04,373 HERE ON ABC. HERE NOW, LINSEY DAVIS AND WHIT 39 00:02:04,373 --> 00:02:05,441 JOHNSON. 40 00:02:05,441 --> 00:02:08,277 ♪ 41 00:02:08,277 --> 00:02:11,614 >>> AND GREETINGS FROM THE DOLBY THEATRE HERE IN HOLLYWOOD. 42 00:02:11,614 --> 00:02:15,384 IT MAY SOUND A LITTLE CLICHE, BUT I THINK IT'S TRUE, THAT YOU 43 00:02:15,384 --> 00:02:18,254 CAN JUST FEEL THE EXCITEMENT AND ANTICIPATION GROWING ALREADY, 44 00:02:18,254 --> 00:02:19,655 LEADING UP TO TONIGHT'S FESTIVITIES. 45 00:02:19,655 --> 00:02:22,658 >> THERE'S A BUZZ IN THE AIR, THE ACTIVITIES HAPPENING, PEOPLE 46 00:02:22,658 --> 00:02:26,329 ARE COMING THROUGH. AND BY TONIGHT, ACTUALLY, WE 47 00:02:26,329 --> 00:02:28,731 MEAN THIS AFTERNOON HERE IN LOS ANGELES, THE NOMINEES, 48 00:02:28,731 --> 00:02:31,734 PRESENTERS, AND THEIR GUESTS WILL MAKE THEIR WAY DOWN THIS 49 00:02:31,734 --> 00:02:34,704 STORIED CARPET STARTING AROUND 2:00 P. M. LOCAL TIME. 50 00:02:34,704 --> 00:02:37,640 MOTHER NATURE SO FAR APPEARS TO BE COOPERATING. 51 00:02:37,640 --> 00:02:42,712 WE HAVE THE UNUSUALLY RAINY, COLD TEMPERATURES IN CALIFORNIA. 52 00:02:42,712 --> 00:02:45,715 THE RECENT SNOWFALL JUST A FEW MILES HERE. 53 00:02:45,715 --> 00:02:50,319 THE ACADEMY WAS PREPARED FOR SOMETHING, WITH A COVERED 54 00:02:50,319 --> 00:02:52,455 CARPETS ARRIVAL. BUT TODAY IT'S DRY WITH 55 00:02:52,455 --> 00:02:55,391 TEMPERATURES IN THE 60s. THE STARS WILL BE SHINING BRIGHT 56 00:02:55,391 --> 00:02:58,494 AND WILL BE COMFORTABLE AS THEY MAKE THEIR WAY OUT OF THEIR CARS 57 00:02:58,494 --> 00:02:59,662 AND DOWN THIS CARPET. 58 00:02:59,662 --> 00:03:03,332 >> THE STARS CERTAINLY ALIGNED WEATHER-WISE AT LEAST. 59 00:03:03,332 --> 00:03:07,637 WE SHOULD TAKE A CLOSER LOOK AT THAT FAMOUS CARPET, USUALLY A 60 00:03:07,637 --> 00:03:11,474 RED CARPET FIGURATIVELY, LITERALLY. BUT NOT THIS YEARS. 61 00:03:11,474 --> 00:03:15,344 FOR WEEK THERE'S BEEN A SPECULATION THAT THE ACADEMY 62 00:03:15,344 --> 00:03:19,515 WOULD MAKE A CHANGE OF COLOR, AND THIS YEAR IT'S BEEN REPLACED 63 00:03:19,515 --> 00:03:23,386 BY A CHAMPAGNE CARPET. THE FIRST TIME SINCE 1961 THAT 64 00:03:23,386 --> 00:03:28,391 THE CARP ED IS NOT RED. THE CADNY SAYS THE LIGHTER COLOR 65 00:03:28,391 --> 00:03:32,395 CARPET WAS WARRANTED BECAUSE OF THE DRAPING OVERHEAD. 66 00:03:32,395 --> 00:03:35,631 MANY PEOPLE WILL STILL REFER TO IT AS THE "RED CARPET." 67 00:03:35,631 --> 00:03:38,568 >> A LOT OF DEBATES OVER THE 68 00:03:38,568 --> 00:03:44,807 COLOR, BEIGE, CHAMPAGNE. 69 00:03:44,807 --> 00:03:49,645 THERE'S NO EATING ON THE CARPET, BUT NOT GOING TO HAPPEN TODAY. 70 00:03:49,645 --> 00:03:52,748 BUT RED CARPET IS A STATE OF MIND. WE CAN ALL AGREE ON THAT. 71 00:03:52,748 --> 00:03:56,385 WE ARE IN THE RIGHT STATE OF MIND TODAY TO BRING YOU OUR 72 00:03:56,385 --> 00:03:57,820 SPECIAL COVERAGE OVER THE NEXT FEW HOURS. 73 00:03:57,820 --> 00:04:02,425 IF YOU HAVEN'T HAD A CHANCE TO SEE ALL THE NOMINATED FILMS OR 74 00:04:02,425 --> 00:04:04,694 PERFORMANCES, WE'LL BRING YOU UP TO SPEED. 75 00:04:04,694 --> 00:04:09,498 OUR OSCARS EXPERTS ARE HERE TO HANDICAP ALL THE RACES. 76 00:04:09,498 --> 00:04:12,535 CHRIS AND KELLY HAVE BEEN WORKING HARD TO UNCOVER WHAT'S 77 00:04:12,535 --> 00:04:16,572 GOING ON BEHIND THE SCENES, INSIDE THE THEATER AND WITH THE 78 00:04:16,572 --> 00:04:19,775 ACADEMY. AND INTERVIEWS WITH THE NOMINEES 79 00:04:19,775 --> 00:04:21,544 COMING UP. OF COURSE, THOSE OSCAR FASHIONS. 80 00:04:21,544 --> 00:04:25,848 SO GRAB A SNACK, MAYBE A DRINK, AND GRAB THAT OSCAR SCOREBOARD, 81 00:04:25,848 --> 00:04:27,783 BECAUSE WE'RE JUST GETTING STARTED TODAY. 82 00:04:27,783 --> 00:04:29,952 >> A LITTLE COCKTAIL OR SOMETHING. 83 00:04:29,952 --> 00:04:31,487 >> THAT'S OKAY. 84 00:04:31,487 --> 00:04:34,724 >> WE'LL KICK IT OFF WITH DETAILS ABOUT TONIGHT'S BROAD 85 00:04:34,724 --> 00:04:39,428 CAST. INSIDE TONIGHT, OSCARS AND PRODUCERS ARE STILL REHEARSING. 86 00:04:39,428 --> 00:04:46,802 THE ACADEMY DID RELEASE A FEW PHOTOS FROM YESTERDAY'S 87 00:04:46,802 --> 00:04:49,605 REHEARSALS. FORMER NOMINEE KATE HUDSON 88 00:04:49,605 --> 00:04:57,647 PRACTICED HANDING OUT AN OSCAR 89 00:04:57,647 --> 00:05:03,586 STA STATUETTE. AND HUGH GRANT AND ANDY McDOWELL 90 00:05:03,586 --> 00:05:07,657 CO-STARS IN "FOUR WEDDINGS AND A FUNERAL" THEY WILL REUNITE 91 00:05:07,657 --> 00:05:09,492 TONIGHT. AND WE HAVE A PREVIEW OF WHAT 92 00:05:09,492 --> 00:05:11,394 YOU CAN EXPECT. LET'S TAKE A LOOK. 93 00:05:11,394 --> 00:05:13,796 >> I'M EXCITED. I'VE NEVER BEEN TO THE OSCARS 94 00:05:13,796 --> 00:05:16,632 BEFORE. THIS IS MY FIRST TIME HERE, AND 95 00:05:16,632 --> 00:05:19,602 THE WAY YOU PEOPLE GO THROUGH HOSTS, IT'S PROBABLY MY LAST 96 00:05:19,602 --> 00:05:21,537 TIME. SO I'M GOING TO ENJOY THIS WHILE 97 00:05:21,537 --> 00:05:21,871 I'M HERE. 98 00:05:21,871 --> 00:05:26,642 >> HE DEFINITELY SPOKE TOO SOON, BECAUSE TONIGHT, JIMMY KIMMEL 99 00:05:26,642 --> 00:05:31,747 WILL RETURN FOR A THIRD TIME TO HOST THE 95th ACADEMY AWARDS. 100 00:05:31,747 --> 00:05:35,818 >> ABC HAS TASKED US WITH FINDING A MOST WHO IS 101 00:05:35,818 --> 00:05:37,553 UNFLAPPABLE AND UNSLAPABLE. 102 00:05:37,553 --> 00:05:41,824 >> THAT'S GOOD. I CAN'T GET SLAPPED. I CRY A LOT. 103 00:05:41,824 --> 00:05:45,828 >> WHILE HE HAS A LONG WAY TO GO TO CATCH UP WITH BOB HOPE'S 104 00:05:45,828 --> 00:05:49,765 RECORD OF HOSTING THE OSCARS, 19 105 00:05:49,765 --> 00:05:57,640 TIMES, HE WILL BE A 3-PEATER. 106 00:05:57,640 --> 00:06:00,743 WITH HIS RETURN, THE ACADEMY HOPES TO RECAPTURE THE GLORY 107 00:06:00,743 --> 00:06:05,881 DAYS WHEN MORE THAN 30 MILLION VIEWERS TUNED IN TO WATCH 108 00:06:05,881 --> 00:06:13,489 HOLLYWOOD'S BIGGEST NIGHT, A STEEP CLIMB FROM THE 2021 YEAR 109 00:06:13,489 --> 00:06:17,660 OF 10.5 MILLION. NAVIGATING THE UNEXPECTED GOES 110 00:06:17,660 --> 00:06:19,695 HAND IN GLOVE WITH HOSTING DUTIES. 111 00:06:19,695 --> 00:06:22,598 LIKE THE BEST PICTURE MIXUP IN 2017. 112 00:06:22,598 --> 00:06:27,903 >> THIS IS NOT A JOKE. "MOONLIGHT" HAS WON BEST PICTURE. 113 00:06:27,903 --> 00:06:32,742 >> THERE HAVE BEEN MANY UNFORGETTABLE MOMENTS AT THE 114 00:06:32,742 --> 00:06:35,745 OSCAR, FROM THIS CELEBRATION TO GENERAL FUR LAWRENCE TRIPPING ON 115 00:06:35,745 --> 00:06:37,847 HER WAY UP TO ACCEPT AN AWARD. 116 00:06:37,847 --> 00:06:42,852 >> YOU GUYS ARE STANDING UP BECAUSE YOU FEEL BAD I FELL. 117 00:06:42,852 --> 00:06:46,555 >> BUT PERHAPS NONE MORE SHOCKING THAN 2022. 118 00:06:46,555 --> 00:06:46,956 >> I'M OUT HERE -- 119 00:06:46,956 --> 00:06:51,894 [ LAUGHTER ] 120 00:06:51,894 --> 00:06:55,564 OH, WOW! WOW! 121 00:06:55,564 --> 00:06:59,735 >> AFTER THE CAMERAS STOPPED ROLLING ON THE 94th OSCARS, 122 00:06:59,735 --> 00:07:01,871 EVERYONE WAS TALKING ABOUT THE SLAP. 123 00:07:01,871 --> 00:07:05,908 EVEN AFTER WILL SMITH RESIGNED FROM THE ACADEMY AND ISSUED AN 124 00:07:05,908 --> 00:07:06,575 APOLOGY. 125 00:07:06,575 --> 00:07:10,813 >> CHRIS, I APOLOGIZE TO YOU. 126 00:07:10,813 --> 00:07:15,551 >> THE ACADEMY RELEASED A DECISION, STATING THE BOARD HAS 127 00:07:15,551 --> 00:07:20,923 DECIDED, FOR A PERIOD OF TEN YEARS, FROM APRIL 8, 2022, MR. 128 00:07:20,923 --> 00:07:25,661 SMITH SHALL NOT BE PERMITTED TO ATTEND ANY ACADEMY EVENTS OR 129 00:07:25,661 --> 00:07:25,795 PROGRAMS. 130 00:07:25,795 --> 00:07:30,966 >> THE CAVEAT IS HE STILL CAN BE NOMINATED AND WIN FOR A FILM 131 00:07:30,966 --> 00:07:33,803 THAT HE'S NOMINATED FOR. HE JUST WOULDN'T BE ABLE TO 132 00:07:33,803 --> 00:07:36,705 ATTEND THE CEREMONY ITSELF. 133 00:07:36,705 --> 00:07:40,042 >> BUT THE REPERCUSSIONS ARE STILL REVERBERATING ONE YEAR 134 00:07:40,042 --> 00:07:47,817 LATER. WHILE SMITH'S LATEST MOVIE "EMANCIPATION" WAS TOUTED BY 135 00:07:47,817 --> 00:07:50,553 SOMEONE AS AN AWARDS CONTENDER, IT DIDN'T RECEIVE A SINGLE 136 00:07:50,553 --> 00:07:52,588 NOMINATION. IN THE CATEGORY OF BEST ACTOR, 137 00:07:52,588 --> 00:07:56,926 IT'S HARD TO RECALL A MORE CONTESTED RACE IN THE LAST TWO 138 00:07:56,926 --> 00:07:58,861 DECADES. AUSTIN BUTLER AND BRENDAN FRASER 139 00:07:58,861 --> 00:08:01,797 ARE DRUMMING UP A STORM OF PREDICTIONS. 140 00:08:01,797 --> 00:08:05,901 IT'S THE HOLLYWOOD HEARTTHROB WHO CAME OUT ON TOP OF THE 141 00:08:05,901 --> 00:08:10,940 GLOBES VERSUS THE HOLLYWOOD COMEBACK FROM SNAG THE SAG. 142 00:08:10,940 --> 00:08:17,880 WHICH FILM IS THE FAVORITE WIN TONIGHT'S PRIZE? 143 00:08:17,880 --> 00:08:22,017 THERE IS THE COMEDY DRAMA NOMINATED FOR 11 ACADEMY AWARDS 144 00:08:22,017 --> 00:08:24,019 TONIGHT. EVEN WITH A LOT OF MOMENTUM 145 00:08:24,019 --> 00:08:28,858 BEHIND THE FILM, IT WILL COMPETE WITH A LARGE GROUP OF OTHER 146 00:08:28,858 --> 00:08:31,660 CROWD PLEASERS. IN AN EFFORT TO ALLOW A MORE 147 00:08:31,660 --> 00:08:35,764 DIVERSE GROUP OF CONTENDERS, THE ACADEMY REQUIRED TEN BEST 148 00:08:35,764 --> 00:08:39,702 PICTURE NOMINEES. TWO HEAVY HITTER SEQUELS THAT 149 00:08:39,702 --> 00:08:42,171 HAD FANS FLOCKING TO THE AWARD. "TOP GUN: MAVERICK," WHICH RAKED 150 00:08:42,171 --> 00:08:46,008 IN $1.4 BILLION AT THE BOX OFFICE. 151 00:08:46,008 --> 00:08:51,914 AND JAMES CAMERON'S MUCH-ANTICIPATED "AVATAR: THE 152 00:08:51,914 --> 00:08:57,086 WAY OF WATER," WHICH BROUGHT IN $2.3 BILLION WORLDWIDE. 153 00:08:57,086 --> 00:09:02,057 BUT BOX OFFICE EARNINGS DON'T ALWAYS EQUATE TO AN OSCAR WIN. 154 00:09:02,057 --> 00:09:06,695 THERE ARE STORIES LIKE "TAR," A STORY ABOUT CANCEL CULTURE. 155 00:09:06,695 --> 00:09:10,799 "WOMEN TALKING," A LOOK AT A -R. 156 00:09:10,799 --> 00:09:15,104 >> WE CANNOT FORGIVE BECAUSE WE ARE FORCED TO. 157 00:09:15,104 --> 00:09:20,676 >> "THE FABELMANS" BASED ON THE REAL-LIFE STORY OF STEVEN 158 00:09:20,676 --> 00:09:21,210 SPIELBERG. "EVERYTHING EVERYWHERE ALL AT 159 00:09:21,210 --> 00:09:25,047 ONCE" NABBED FOUR ACTING NOMINATIONS, INCLUDING THE BEST 160 00:09:25,047 --> 00:09:27,650 SUPPORTING ACTRESS FOR JAMIE LEE CURTIS, HER FIRST OSCAR 161 00:09:27,650 --> 00:09:30,052 NOMINATION EVER. 162 00:09:30,052 --> 00:09:36,725 >> DID YOU SEE THESE? 163 00:09:36,725 --> 00:09:42,798 YOU DON'T GET ONE OF THESE UNLESS YOU SEE A LOT OF BULL 164 00:09:42,798 --> 00:09:45,834 [ MUTED ], EXCUSE MY FRENCH. 165 00:09:45,834 --> 00:09:48,837 >> AND RIHANNA IS SET TO TAKE THE OSCARS BY HOME TONIGHT. 166 00:09:48,837 --> 00:09:52,141 ♪ 167 00:09:52,141 --> 00:09:56,745 AND "NAATU NAATU" FROM THE MOVIE "RRR." 168 00:09:56,745 --> 00:10:02,818 WILL WE SEE THOSE HIGH ENERGY DANCE MOVES WE HAVE COME TO 169 00:10:02,818 --> 00:10:06,689 LOVE? JOINING US NOW AS THEY DO EVERY 170 00:10:06,689 --> 00:10:11,894 YEAR WITH MORE INSIGHTS INTO THIS EVENING'S BIG SHOWS, CHRIS 171 00:10:11,894 --> 00:10:16,098 CONLEY AND KELLY CARTER. LOOKING SO DASHING AND STUNNING 172 00:10:16,098 --> 00:10:16,732 TONIGHT. 173 00:10:16,732 --> 00:10:17,099 >> ABSOLUTELY. 174 00:10:17,099 --> 00:10:18,968 >> THANK YOU SO MUCH FOR JOINING US. 175 00:10:18,968 --> 00:10:21,070 >> LOOK AT YOU GUYS. 176 00:10:21,070 --> 00:10:25,908 >> SO OF COURSE, PEOPLE ARE STILL TALKING ABOUT THE SLAP. 177 00:10:25,908 --> 00:10:30,846 WE HEARD ABOUT -- FORGET ABOUT JIMMY KIMMEL IS UNSLAPABLE. 178 00:10:30,846 --> 00:10:39,021 HE JOKED THE REASON THE ACADEMY 179 00:10:39,021 --> 00:10:43,025 DIDN'T NEED RED CARPET TONIGHT IS NOBODY WILL GET SLAPPED. 180 00:10:43,025 --> 00:10:46,829 >> IT'S IMPORTANT THAT THE ACADEMY FEELS THAT THE FOLKS IN 181 00:10:46,829 --> 00:10:50,899 THE FIRST 15 ROWS NOT FEEL LIKE THEY'RE GOING TO BE A TARGET FOR 182 00:10:50,899 --> 00:10:53,035 COMEDY. LOOK FOR A FUN AND FUNNY NIGHT. 183 00:10:53,035 --> 00:10:56,005 >> THEY SAID THEY HAVE TO ADDRESS IT, BUT THEY DON'T WANT 184 00:10:56,005 --> 00:10:59,174 IT TO BE THE FOCUS. THE MOVIES, OF COURSE. 185 00:10:59,174 --> 00:11:03,212 KELLY, THIS IS A MILESTONE YEAR FOR NOMINEES, OLDER THAN 60. 186 00:11:03,212 --> 00:11:06,248 WHAT DOES THIS MEAN FOR THEM AND SAY ABOUT THE FUTURE? 187 00:11:06,248 --> 00:11:11,120 >> IT SAYS A LOT. EVERYONE IS EXCITED ABOUT ANGELA 188 00:11:11,120 --> 00:11:16,125 BASSETT, JAMIE LEE CURTIS, 189 00:11:16,125 --> 00:11:21,930 MICHELLE YEOH. THESE WOMEN ARE INCREDIBLE, 190 00:11:21,930 --> 00:11:25,100 THEY'RE KILLING IT, AND THEY'RE OSCAR NOMINEES TONIGHT. 191 00:11:25,100 --> 00:11:26,168 I THINK THAT'S SIGNIFICANT. 192 00:11:26,168 --> 00:11:29,104 >> LET'S TALK ABOUT BEST ORIGINAL SONG. 193 00:11:29,104 --> 00:11:34,043 PEOPLE ARE CALLING IT THE BATTLE OF THE DIVAS BETWEEN RIHANNA AND 194 00:11:34,043 --> 00:11:36,845 LADY GAGA. ONLY ONE WILL PERFORM TONIGHT. 195 00:11:36,845 --> 00:11:37,813 WHAT CAN WE EXPECT? 196 00:11:37,813 --> 00:11:41,216 >> WE'LL SEE. I THINK "NAATU NAATU" IS THE 197 00:11:41,216 --> 00:11:44,853 THING EVERYBODY IS DATING TO SEE, NOT JUST THE SONG, BUT THE 198 00:11:44,853 --> 00:11:47,056 PERFORMANCE. BUT RIHANNA UP ON STAGE, SING 199 00:11:47,056 --> 00:11:50,192 THING POWERFUL SONG FROM "BLACK PANTHER: WAKANDA FOREVER," WHICH 200 00:11:50,192 --> 00:11:54,196 HAD ITS WORLD PREMIERE AT THE DOLBY THEATRE. 201 00:11:54,196 --> 00:11:58,100 >> CHRIS IS POINTING OUT THAT HE DOES HAVE HIS SUSPENDERS ON 202 00:11:58,100 --> 00:12:00,336 TODAY, SO HE'S READY FOR THE "NAATU NAATU" DANCE. 203 00:12:00,336 --> 00:12:03,105 >> I GOT MY HOOK STEP GOING. 204 00:12:03,105 --> 00:12:05,841 >> HE'S BEEN PRACTICING. 205 00:12:05,841 --> 00:12:09,244 >> MY WIFE TOLD ME NOT TO NOT TO DANCE ON THE SHOW. 206 00:12:09,244 --> 00:12:09,378 [ LAUGHTER ] 207 00:12:09,378 --> 00:12:13,148 I'M JUST GOING TO HAVE TO FOLLOW HER LEAD ON THAT. 208 00:12:13,148 --> 00:12:15,250 WE'LL TALK TO YOU THROUGHOUT THE COURSE OF THE BROAD CAST HERE, 209 00:12:15,250 --> 00:12:21,123 THE NEXT THREE HOURS, OF COURSE. COMING UP, SO MUCH MORE. 210 00:12:21,123 --> 00:12:26,895 INTERVIEWS WITH ANGELA BASSETT, AND YOUNG ACTING PHENOM AUSTIN 211 00:12:26,895 --> 00:12:28,364 BUTLER. AND WHAT WOULD THE OSCARS BE 212 00:12:28,364 --> 00:12:33,936 WITHOUT A REVIEW OF THE GREAT FASHION THAT WE'LL SEE. 213 00:12:33,936 --> 00:12:36,138 >> A QUESTION FOR YOU AS WE GO TO BREAK. 214 00:12:36,138 --> 00:12:39,041 TAKE A LOOK AT THIS VIDEO WE ARE ABOUT TO SHOW YOU HERE. 215 00:12:39,041 --> 00:12:42,945 CAN YOU IDENTIFY THE BEST 216 00:12:42,945 --> 00:12:49,051 ACTRESS NOMINEE FEATURED IN THIS ROLE? 217 00:12:49,051 --> 00:12:50,419 EVERYONE HAS TO START SOMEWHERE. THE ANSWER WHEN WE RETURN. 218 00:12:50,419 --> 00:12:51,120 STAY WITH US. 219 00:13:07,136 --> 00:13:11,306 >>> I WOULD LOVE TO THANK MY MOTHER FORGIVING ME NOT JUST 220 00:13:11,306 --> 00:13:15,177 STORIED INSPIRATION FOR MY FILMS, BUT ALSO JUST IMBUING ME 221 00:13:15,177 --> 00:13:19,181 WITH THIS SENSE OF CONFIDENCE AND BELIEF IN MYSELF EVER SINCE 222 00:13:19,181 --> 00:13:21,283 I WAS LITTLE. 223 00:13:21,283 --> 00:13:22,284 ♪ 224 00:13:22,284 --> 00:13:27,222 >>> WELCOME BACK. SHE THANKED HER MOM, BUT I KNOW 225 00:13:27,222 --> 00:13:29,057 SHE'S THANKFUL TO BE HERE TONIGHT. 226 00:13:29,057 --> 00:13:35,330 IN JUST A FEW HOURS, THOSE 227 00:13:35,330 --> 00:13:39,968 NOMINEES WILL WALK IN FRONT OF THE CAMERAS. 228 00:13:39,968 --> 00:13:44,206 >> AND WELCOME BACK, EVERYONE. I'M LINSEY DAVIS WITH MY ABC 229 00:13:44,206 --> 00:13:48,043 NEWS COLLEAGUE MY WHIT JOHNSON HERE AT THE DOLBY THEATRE IN 230 00:13:48,043 --> 00:13:50,379 HOLLYWOOD, COUNTING DOWN TO TONIGHT'S BIG AWARD CEREMONY. 231 00:13:50,379 --> 00:13:54,249 WE WANT TO TURN TO SOMETHING THAT'S BECOME A TRADITION FOR 232 00:13:54,249 --> 00:13:58,387 US.PEVERY YEAR, WHIT, I KNOW YO BEEN DIGGING INTO THE CRATES FOR 233 00:13:58,387 --> 00:13:58,487 THIS. 234 00:13:58,487 --> 00:14:02,124 >> A LOT OF RESEARCH. WE PUT OUR INVESTIGATIVE 235 00:14:02,124 --> 00:14:06,195 DEPARTMENT ON THIS AND DIGGING IN LONG BEFORE TONIGHT'S 236 00:14:06,195 --> 00:14:08,330 NOMINATED ACTORS AND ACTRESSES WERE READY FOR THEIR MOMENT IN 237 00:14:08,330 --> 00:14:11,300 THE SPOTLIGHT. THEY WERE ASPIRING ARTISTS 238 00:14:11,300 --> 00:14:16,104 LOOKING FOR A BIG BREAK, AND SOME GET THAT BREAK IN SMALL TV 239 00:14:16,104 --> 00:14:21,376 ROLES OR TELEVISION COMMERCIALS. WHILE THEY LIKE TO SOMETIMES 240 00:14:21,376 --> 00:14:25,147 FORGET THEM, WE LOVE THEM. WE WANT TO SHOWCASE THEM FOR YOU 241 00:14:25,147 --> 00:14:29,418 AT HOME. SO HERE NOW TO START IT OUT IS A 242 00:14:29,418 --> 00:14:34,289 LOOK BACK AT BEST ACTRESS CONTENDERS LONG BEFORE THEY WERE 243 00:14:34,289 --> 00:14:37,359 OSCAR NOMINEES. MICHELLE YEOH, NOMINATED FOR 244 00:14:37,359 --> 00:14:42,397 "EVERYTHING EVERYWHERE ALL AT ONCE." 245 00:14:42,397 --> 00:14:48,170 >> SHE TURNED OUT TO BE STUBBORN, DANGEROUS, A MESS. 246 00:14:48,170 --> 00:14:50,239 JUST LIKE HER MOTHER. 247 00:14:50,239 --> 00:14:52,508 >> I CAN'T SEE! HOLD ON. 248 00:14:52,508 --> 00:14:57,212 >> YOU MAY REMEMBER HER AS A BOND GIRL IN "TOMORROW NEVER 249 00:14:57,212 --> 00:15:01,083 DIES" IN 1997 WITH PIERCE BROSNAN. 250 00:15:01,083 --> 00:15:04,186 >> DON'T GET ANY IDEAS. 251 00:15:04,186 --> 00:15:08,123 >> HER FIRST ON SCREEN ROLL, A WATCH COMMERCIAL WITH JACKIE 252 00:15:08,123 --> 00:15:11,093 CHAN, WHICH LED TO DECADES OF WORK IN MARTIAL ARTS ACTION 253 00:15:11,093 --> 00:15:15,130 FILMS. 254 00:15:15,130 --> 00:15:20,536 BUT HER FIRST STAGE WORK, REPRESENTING MALAYSIA AT THE 255 00:15:20,536 --> 00:15:23,238 MISS WORLD BEAUTY PADGETT IN 1983. 256 00:15:23,238 --> 00:15:30,445 >> I'M A GRADUATE AND I COME FROM MALAYSIA. 257 00:15:30,445 --> 00:15:36,018 >> MICHELLE WILLIAMS IS NOMINATED FOR HER ROLE AS A MOM 258 00:15:36,018 --> 00:15:36,251 IN "THE FABELMANS." 259 00:15:36,251 --> 00:15:39,288 >> DO YOU HAVE ANY IDEA HOW MUCH I LOVE YOU? 260 00:15:39,288 --> 00:15:40,188 ♪ 261 00:15:40,188 --> 00:15:45,227 >> SHE WAS A STAR THE MOMENT SHE DEBUTED IN "DAWSON'S CREEK" AS A 262 00:15:45,227 --> 00:15:47,062 17-YEAR-OLD IN 1998. 263 00:15:47,062 --> 00:15:49,464 >> YOU'RE DAWSON. YEAH, I KNOW. WE MET BEFORE. 264 00:15:49,464 --> 00:15:53,268 I'M JEN. 265 00:15:53,268 --> 00:15:55,504 >> ON "STEP BY STEP" -- 266 00:15:55,504 --> 00:16:00,242 >> PERHAPS YOU NOTICED ME AROUND CAMPUS? 267 00:16:00,242 --> 00:16:04,513 >> YEAH, YOU'RE THE KID EVERYBODY IS STICKING IN THE 268 00:16:04,513 --> 00:16:05,147 TOILET. 269 00:16:05,147 --> 00:16:10,552 >> AND ON "BAY WATCH" IN 1993, HER FIRST APPEARANCE ON 270 00:16:10,552 --> 00:16:10,686 TELEVISION. 271 00:16:10,686 --> 00:16:12,754 >> I'M HAVING A PARTY FRIDAY NIGHT. DO YOU WANT TO COME? 272 00:16:12,754 --> 00:16:16,158 >> YEAH, SURE. 273 00:16:16,158 --> 00:16:20,529 >> GREAT. WE'LL MAKE IT A BEACH PARTY. 274 00:16:20,529 --> 00:16:26,134 >> ANA de ARMAS STUNS AS MARILYN MONROE IN "BLONDE." 275 00:16:26,134 --> 00:16:31,139 ♪ 276 00:16:31,139 --> 00:16:37,279 >> SURVIVES THE FAMILY IN "KNIVES OUT." 277 00:16:37,279 --> 00:16:41,183 >> YOU'VE HAD A LONG DAY. WANT TO DO DRUGS? 278 00:16:41,183 --> 00:16:46,221 >> AND HOLDS HER OWN AS A BOND GIRL IN "NO TIME TO DIE." 279 00:16:46,221 --> 00:16:48,523 SHE CAN'T TRUST HER HUSBAND IN "WAR DOGS." 280 00:16:48,523 --> 00:16:56,431 >> FIVE MONTHS PS PREGNANT. BUT KEANU SHOULDN'T TRUST HER IN 281 00:16:56,431 --> 00:16:58,166 "KNOCK, KNOCK." 282 00:16:58,166 --> 00:17:01,637 >> NOT EVERYONE WOULD JUST LET TWO TOTAL STRANGERS INTO THEIR 283 00:17:01,637 --> 00:17:02,237 HOUSE. 284 00:17:02,237 --> 00:17:06,608 >> AND TRUST US, THIS GUY SAID YES WHEN SHE ASKED HIM TO DANCE 285 00:17:06,608 --> 00:17:11,179 AT AGE 16. 286 00:17:11,179 --> 00:17:17,486 THIS WAS IN 2006. ANDREA RISEBOROUGH PLAYS AN 287 00:17:17,486 --> 00:17:22,524 ALCOHOLIC MOM IN "TO LESLIE" LOOKING FOR REDEMPTION. 288 00:17:22,524 --> 00:17:22,724 >> WHERE YOU BEEN? 289 00:17:22,724 --> 00:17:24,159 >> YOU'RE HOME EARLY. 290 00:17:24,159 --> 00:17:26,561 >> I'VE BEEN ALL OVER TOWN LOOKING FOR YOU. 291 00:17:26,561 --> 00:17:28,397 >> I WENT LOOKING FOR A JOB. 292 00:17:28,397 --> 00:17:31,199 >> A JOB? 293 00:17:31,199 --> 00:17:34,436 >> YEAH. FIGURE OUT MY PLAN. 294 00:17:34,436 --> 00:17:39,408 >> MANY OF HER EARLY FILMS SAW HER PLAYING BRITISH ARISTOCRACY, 295 00:17:39,408 --> 00:17:43,512 A GIRLFRIEND OF THEN PRINCE CHARLES IN "WHATEVER LOVE MEANS" 296 00:17:43,512 --> 00:17:44,279 IN 2005. 297 00:17:44,279 --> 00:17:45,480 >> WOULD YOU LIKE TO DANCE? 298 00:17:45,480 --> 00:17:48,583 >> NO, THANK YOU. NO ONE TREATS ME LIKE THAT, NOT 299 00:17:48,583 --> 00:17:51,386 EACH YOU. 300 00:17:51,386 --> 00:17:54,289 >> AND FACING REALITY IN "W. E." 301 00:17:54,289 --> 00:17:57,292 >> YOUR FAMILY AND THE PRIME MINISTER WON'T STAND FOR IT. 302 00:17:57,292 --> 00:17:59,494 >> THEN I'LL GIVE UP THE THRONE. 303 00:17:59,494 --> 00:18:03,765 >> THEN I WILL BE THE MOST DESPISED WOMAN IN THE WORLD. 304 00:18:03,765 --> 00:18:08,637 >> AS MARGARET THATCHER ERTHATC. 305 00:18:08,637 --> 00:18:13,442 >> I WOULD BE REMISS IF I HADN'T STUDIED THE CAREER OF THE MAN I 306 00:18:13,442 --> 00:18:15,610 INTEND TO SUCCEED. PREPARATION IS EVERYTHING. 307 00:18:15,610 --> 00:18:21,616 >> AND ON THIS SIDE OF THE BOND, SHE PORTRAYS TOM CRUISE IN 308 00:18:21,616 --> 00:18:21,750 "OBLIVION." 309 00:18:21,750 --> 00:18:26,455 >> I'M HAVING A PROBLEM WITH MY TECHNICIAN. 310 00:18:26,455 --> 00:18:31,359 HE'S UNFIT FOR SERVICE. 311 00:18:31,359 --> 00:18:36,465 >> CATE BLANCHETT, NOMINATED FOR PLAYING A WORLD CLASS CONDUCTOR 312 00:18:36,465 --> 00:18:36,598 IN "TAR." 313 00:18:36,598 --> 00:18:42,437 ♪ 314 00:18:42,437 --> 00:18:45,707 >> I THINK YOU MIGHT HAVE A TOUCH OF MALARIA. 315 00:18:45,707 --> 00:18:51,346 BUT IN ONE OF HER EARLIEST ROADS IN 1993, SHE WAS IN A JAPANESE 316 00:18:51,346 --> 00:18:54,549 PRISON CAMP. IRONICALLY, IT'S GLENN CLOSE 317 00:18:54,549 --> 00:18:59,421 PLAYING CONDUCTOR. AS A PANICKED BRIDE IN "THE 318 00:18:59,421 --> 00:19:00,355 WEDDING PARTY." 319 00:19:00,355 --> 00:19:01,256 >> HOW DO YOU FEEL? 320 00:19:01,256 --> 00:19:08,697 >> I FEEL PRETTY GOOD. NO, I FEEL AWFUL. 321 00:19:08,697 --> 00:19:14,669 >> AND IN THE EARLY '90s, PLAYING THE REBEL BIANCA IN THE 322 00:19:14,669 --> 00:19:18,306 MINI SERIES "BORDER TOWN." 323 00:19:18,306 --> 00:19:19,641 >> HEY, LOOK AT THIS. 324 00:19:19,641 --> 00:19:22,344 >> AND EVERYONE GETS THEIR START SOMEWHERE. 325 00:19:22,344 --> 00:19:27,549 YEP, THAT'S EIGHT-TIME OSCAR NOMINEE, TWO-TIME WINNER CATE 326 00:19:27,549 --> 00:19:31,520 BLANCHETT IN AN AD. 327 00:19:31,520 --> 00:19:38,293 >> I WANT A PACKET OF TIM TAMS THAT NEVER RUNS OUT. 328 00:19:38,293 --> 00:19:40,362 >> YOU HAVE TWO WISHES LEFT. 329 00:19:40,362 --> 00:19:44,399 >> WHAT MORE COULD YOU WANT? 330 00:19:44,399 --> 00:19:48,436 >> NOW I'M HUNGRY FOR THOSE BISCUITS. 331 00:19:48,436 --> 00:19:51,473 SHE NAILED THAT PERFORMANCE IN THE COMMERCIAL. SO FUN. 332 00:19:51,473 --> 00:19:56,478 WE HAVE UP COVERED A LOT MORE OF THOSE VINTAGE CLIPS FOR 333 00:19:56,478 --> 00:19:57,612 EVERYBODY. LATER, WE'LL SHOW YOU HOW THE 334 00:19:57,612 --> 00:19:59,648 OTHERS MADE THEIR FIRST IMPRESSIONS ON SCREEN. 335 00:19:59,648 --> 00:20:04,386 >>> ALSO COMING UP, WHAT HAPPENS WHEN YOU PUT TOM CRUISE BACK IN 336 00:20:04,386 --> 00:20:07,722 A FLIGHT SUIT OR ANGELA BASSETT BACK UNDER A ROYAL CROWN? 337 00:20:07,722 --> 00:20:10,592 ONE THING IS A GUARANTEED BOX OFFICE HIT. 338 00:20:10,592 --> 00:20:12,794 THAT AND MUCH MORE WHEN WE RETURN LIVE TO HOLLYWOOD. 339 00:20:12,794 --> 00:20:14,496 STAY WITH US. 340 00:20:27,843 --> 00:20:31,446 >>> HEY, EVERYBODY. WELCOME BOOK HOLLYWOOD WHERE, IN 341 00:20:31,446 --> 00:20:34,516 JUST A FEW HOURS, THIS CARPET WILL BE LINED WITH THE BIGGEST 342 00:20:34,516 --> 00:20:37,452 STARS IN ENTERTAINMENT. NOT JUST THE NOMINEES, BUT 343 00:20:37,452 --> 00:20:41,489 SUPERSTAR PRESENTERS LIKE DWAYNE JOHNSON, HARRISON FORD, AND 344 00:20:41,489 --> 00:20:42,524 MICHAEL B. JORDAN. 345 00:20:42,524 --> 00:20:45,727 >> AS THE COUNTDOWN TO THE AWARDS CONTINUES, WE WANT TO 346 00:20:45,727 --> 00:20:49,631 LOOK AT THE ACTING CATEGORIES AND HANDICAP WHO THE FAVORITES 347 00:20:49,631 --> 00:20:53,401 ARE TO WIN LATER TONIGHT. OUR EXPERT ALSO BE HERE IN A 348 00:20:53,401 --> 00:20:56,805 MOMENT TO HELP US WITH THAT. BUT FIRST, LET'S REMIND 349 00:20:56,805 --> 00:21:00,475 EVERYBODY WHO IS NOMINATED IN THE BEST ACTOR CATEGORY. 350 00:21:00,475 --> 00:21:03,645 >> SO MANY GREAT PERFORMANCES WE WANT TO TAKE A LOOK AT RIGHT 351 00:21:03,645 --> 00:21:06,481 NOW. 352 00:21:06,481 --> 00:21:30,438 ♪ 353 00:21:30,438 --> 00:21:32,574 ♪ 354 00:21:32,574 --> 00:21:34,609 >> THERE IT IS. 355 00:21:34,609 --> 00:21:41,716 TALKING TO ME, ARE YOU? 356 00:21:41,716 --> 00:21:48,523 >> NOW I REMEMBER WHAT IT'S LIKE TO BE ALIVE. 357 00:21:48,523 --> 00:21:50,558 >> WHAT'S YOUR SISTER'S NAME? 358 00:21:50,558 --> 00:21:58,867 >> SOPHIE. 359 00:21:58,867 --> 00:22:01,836 I'M HER DAD ACTUALLY. 360 00:22:01,836 --> 00:22:07,876 >> DO YOU EVER GET THE FEELING THAT PEOPLE ARE INCAPABLE OF NOT 361 00:22:07,876 --> 00:22:12,647 CARING? 362 00:22:12,647 --> 00:22:14,616 >> JUST TREMENDOUS PERFORMANCES THERE. 363 00:22:14,616 --> 00:22:18,653 I KNOW THAT OSCAR VOTERS HAD TO HAVE A DIFFICULT TIME CHOOSING A 364 00:22:18,653 --> 00:22:22,424 WINNER. I DID NOT HAVING A HARD TIME 365 00:22:22,424 --> 00:22:25,460 SAYING YES WHEN I WAS INVITED TO ATTEND THE LUNCHEON IN 366 00:22:25,460 --> 00:22:26,828 HOLLYWOOD. I HAD A CHANCE TO SIT DOWN WITH 367 00:22:26,828 --> 00:22:31,566 SEVERAL OF THE NOMINEES, INCLUDING ONE OF THE TALENTED 368 00:22:31,566 --> 00:22:33,601 ACTORS, HOLLYWOOD VETERAN COLIN FARRELL. 369 00:22:33,601 --> 00:22:37,906 HE JOINED ME WITH HIS CO-STAR FROM "THE BANSHEES OF 370 00:22:37,906 --> 00:22:39,574 INISHERIN," BRENDAN GLEESON. 371 00:22:39,574 --> 00:22:46,648 >> I'VE DONE SOMETHING, TELL ME. I JUST DON'T LIKE YOU NO MORE. 372 00:22:46,648 --> 00:22:47,816 >> YOU LIKED ME YESTERDAY. 373 00:22:47,816 --> 00:22:50,485 >> WHAT IS IT LIKE TO GET THE NOD? 374 00:22:50,485 --> 00:22:55,924 >> IT'S REALLY LOVELY. IT'S SUCH A SPECIAL MOMENT. 375 00:22:55,924 --> 00:22:59,594 IT FEELS LIKE A MUCH MORE COMMUNAL EXPERIENCE THAN IT 376 00:22:59,594 --> 00:23:00,495 MIGHT HAVE OTHERWISE. 377 00:23:00,495 --> 00:23:03,698 >> IT FEELS LIKE A GOOD YEAR FOR IRISH ACTORS IN GENERAL. 378 00:23:03,698 --> 00:23:03,999 >> YEAH. 379 00:23:03,999 --> 00:23:07,802 >> IT'S AMAZING. I HADN'T MET PAUL BEFORE. 380 00:23:07,802 --> 00:23:12,007 I LOVE HIS WORK ANY WAY. SO IT GAVE US CONFIDENCE BACK 381 00:23:12,007 --> 00:23:17,579 HOME TO LOOK TOWARDS DOING THIS QUALITY OF WORK. 382 00:23:17,579 --> 00:23:19,581 IT DOES GIVE EVERYBODY A LIFT FOR SURE. 383 00:23:19,581 --> 00:23:22,951 >> LAST NIGHT WAS JUST THE WHISKY TALKING. 384 00:23:22,951 --> 00:23:23,918 >> LAST NIGHT? 385 00:23:23,918 --> 00:23:25,920 >> WHAT WERE YOU SAYING? 386 00:23:25,920 --> 00:23:29,958 >> YEAH, I CAN'T REMEMBER MUCH OF IT, BUT I REMEMBER THE GIST 387 00:23:29,958 --> 00:23:30,692 WASN'T THE BEST. 388 00:23:30,692 --> 00:23:33,795 >> GIVE US A SENSE OF THE SCENE SET FOR US WHEN YOU FOUND OUT 389 00:23:33,795 --> 00:23:35,764 THAT YOU GOT THE NOMINATION. 390 00:23:35,764 --> 00:23:38,600 >> I WAS GOING TO WORK THE NEXT DAY, SO I WAS IN BED. 391 00:23:38,600 --> 00:23:42,837 I KNEW WHEN THE CALL CAME IT'S EITHER TIME TO GET UP OR IT'S 392 00:23:42,837 --> 00:23:43,038 SOMETHING ELSE. 393 00:23:43,038 --> 00:23:43,838 >> YEAH, YEAH. 394 00:23:43,838 --> 00:23:47,976 >> AND IT WAS FANTASTIC. IT WAS A GREAT WAY TO GO TO WORK 395 00:23:47,976 --> 00:23:51,679 THE NEXT DAY. BUT I WAS HERE, SO IT WAS NICE. 396 00:23:51,679 --> 00:23:52,814 WE COULD MEET UP THAT EVENING. 397 00:23:52,814 --> 00:23:55,950 >> YEAH, WE MET UP THAT EVENING, ALL OF US. 398 00:23:55,950 --> 00:24:01,022 WE LOVED DOING THE FILM. IT MEANT A LOT TO US IN OUR OWN 399 00:24:01,022 --> 00:24:03,591 INDIVIDUAL WAYS AND IN SHARED WAYS, TOO. 400 00:24:03,591 --> 00:24:05,927 SO THERE IS A SWEETNESS TO HAVE THIS HAPPEN. 401 00:24:05,927 --> 00:24:08,963 >> YOU ALL WORKED TOGETHER IN 2008. 402 00:24:08,963 --> 00:24:15,603 >> YOU'VE BEEN THE WORST TOUR N IST IN THE WHOLE WORLD. 403 00:24:15,603 --> 00:24:19,641 >> KIND OF A SIMILAR IDEA OF FRIENDS, AND THEN THIS CONFLICT. 404 00:24:19,641 --> 00:24:22,877 WHAT IS IT LIKE FOR YOU GUYS, WHO ARE FRIENDS IN REAL LIFE, TO 405 00:24:22,877 --> 00:24:23,778 GET TO WORK TOGETHER? 406 00:24:23,778 --> 00:24:28,750 >> IT'S A JOY. IT'S EASY. I MEAN, IT'S EASY IN THAT 407 00:24:28,750 --> 00:24:32,954 THERE'S PERMISSION FOR IT TO BE HARD WHERE IT NEEDS TO BE HARD, 408 00:24:32,954 --> 00:24:36,591 AND PUSH EACH OTHER IN A WY TO BE CREATIVE. 409 00:24:36,591 --> 00:24:40,862 THERE'S A KIND OF ORGANIC ELEMENT THAT DENIES ANY 410 00:24:40,862 --> 00:24:41,763 UNDERSTANDING ON MY PART. 411 00:24:41,763 --> 00:24:45,934 >> IT'S INTERESTING NOT FULLY KNOWING WHAT'S HAPPENING HERE. 412 00:24:45,934 --> 00:24:48,903 IT'S A COLLABORATIVE EXERCISE IN ITS PROPER WAY. 413 00:24:48,903 --> 00:24:54,909 >> FIRST MOVIE THAT YOU SAW MADE A BIG IMPRESSION ON YOU? 414 00:24:54,909 --> 00:24:59,848 >> "BAMBI." BAMBI'S MOTHER DYING, THAT KID 415 00:24:59,848 --> 00:25:00,014 ME. 416 00:25:00,014 --> 00:25:05,820 >> "E. T." DYING KILLED ME. SPIELBERG, OFTEN AT THE CORE OF 417 00:25:05,820 --> 00:25:08,756 HIS PRESENTATIONS, ARE FAMILIES THAT ARE STRUGGLING. 418 00:25:08,756 --> 00:25:13,661 SO YEAH, IT WAS AN EXPERIENCE OF A VERY DOMESTIC BUT VERY REAL 419 00:25:13,661 --> 00:25:16,931 TURBULENCE GOING ON IN THE FAMILY. 420 00:25:16,931 --> 00:25:22,737 AND WHEN THE TIME CAME THAT "E.T." DIED IT SHOOK ME TO MY 421 00:25:22,737 --> 00:25:22,871 CORE. 422 00:25:22,871 --> 00:25:26,808 >> THIS ISLAND, A SMALL IRISH ISLAND, TWO FRIENDS WITH A 423 00:25:26,808 --> 00:25:29,811 CONFLICT. SOMEWHAT IS IT ABOUT THIS MOVIE 424 00:25:29,811 --> 00:25:32,947 THAT SEEMS VERY SIMPLE BUT THAT IS RESONATING WITH SO MANY 425 00:25:32,947 --> 00:25:33,081 PEOPLE? 426 00:25:33,081 --> 00:25:38,720 >> ONE OF THE GREAT CERTAINTIES OF LIFE IS WE'RE ALL GOING TO 427 00:25:38,720 --> 00:25:45,894 DEAL WITH LOSS AT A CERTAIN POINT. 428 00:25:45,894 --> 00:25:49,998 THE FEAR CAN ASSAIL YOU WHEN YOU LOSE SOMEBODY THAT MEANT SO MUCH 429 00:25:49,998 --> 00:25:53,935 TO YOU. JUST THAT KIND OF SIMPLE, SIMPLE 430 00:25:53,935 --> 00:25:56,905 DYNAMIC OF THE HUMAN EXPERIENCE IS SOMETHING THAT PEOPLE SEEM TO 431 00:25:56,905 --> 00:26:00,942 BE LEANING INTO OR FIND A LITTLE BIT OF HEALING IN, OR A LITTLE 432 00:26:00,942 --> 00:26:02,076 BIT OF RECOGNITION. 433 00:26:02,076 --> 00:26:05,079 >> WE CAN'T ALL BE YOU, CAN IT? 434 00:26:05,079 --> 00:26:09,984 >> YES, IT CAN. THERE'S TWO OF US IN THIS. 435 00:26:09,984 --> 00:26:11,753 >> NO, THERE ISN'T. 436 00:26:11,753 --> 00:26:14,689 >> BECAUSE EVERYBODY HAD TO BRING SOMETHING TO AN END THAT 437 00:26:14,689 --> 00:26:19,894 HASN'T BEEN PLANNED, IT WAS VERY EASY FOR PEOPLE TO ACCESS IT. 438 00:26:19,894 --> 00:26:23,731 AND JUST THE PAIN THAT'S INVOLVED IN IT, AND ALL THE 439 00:26:23,731 --> 00:26:24,832 DILEMMAS THAT ARE INVOLVED. 440 00:26:24,832 --> 00:26:29,070 >> BEFORE I WAS AN ACTOR, FILM MADE ME FEEL LESS ALONE. 441 00:26:29,070 --> 00:26:32,006 THAT'S A BEAUTIFUL THING TO BE A PART OF. 442 00:26:32,006 --> 00:26:34,776 >> SO WILL COLIN FARRELL TAKE HOME AN OSCAR TONIGHT? 443 00:26:34,776 --> 00:26:42,016 HERE TO HELP US HANDICAP THE RACE ARE TWO HOLLYWOOD INSIDERS, 444 00:26:42,016 --> 00:26:45,820 CHIEF CORRESPONDENT ELIZABETH 445 00:26:45,820 --> 00:26:50,158 WAG DONALD TRUMP MEISTER AND CLAYTON DAVIS. 446 00:26:50,158 --> 00:26:57,098 GIVE US A SENSE, WE'RE TALKING 447 00:26:57,098 --> 00:27:01,736 ABOUT BEST ACTOR CATEGORY, WHO WILL WIN, WHO SHOULD WIN AND WHO 448 00:27:01,736 --> 00:27:02,937 COULD BE THE DARK HORSE? 449 00:27:02,937 --> 00:27:05,840 >> WHO WILL WIN? THIS IS REALLY A TOUGH RACE. 450 00:27:05,840 --> 00:27:09,777 IN MY MIND, THIS IS BETWEEN BRENDAN FRASER AND AUSTIN BUTLER. 451 00:27:09,777 --> 00:27:14,816 NOW, I THINK THAT BRENDAN FRASER WILL WIN, AND I AM ROOTING FOR 452 00:27:14,816 --> 00:27:17,919 ALL THEM, BUT I'M ROOTING FOR HIM BECAUSE THIS HAS BEEN SUCH 453 00:27:17,919 --> 00:27:22,757 AN INCREDIBLE COMEBACK. EVERYBODY HAS JUST LOVED TO SEE 454 00:27:22,757 --> 00:27:29,264 THIS RENAISSANCE, AS WE LIKE TO CALL IT. WHO SHOULD WIN? 455 00:27:29,264 --> 00:27:34,836 I THINK AUSTIN OR BRENDAN SHOULD WIN. THEY HAVE TRANSFORMATIVE 456 00:27:34,836 --> 00:27:35,970 PERFORMANCES THAT WERE INCREDIBLE. 457 00:27:35,970 --> 00:27:39,807 BUT THE DARK HORSE, YOU ASKED EARLIER, WOULD COLIN FARRELL WIN? 458 00:27:39,807 --> 00:27:42,810 I DO THINK HE COULD, AND I THINK HE WILL BE THE DARK HORSE. 459 00:27:42,810 --> 00:27:47,181 >> CLAYTON, WHO WILL WIN, SHOULD WIN AND POSSIBLE SLEEPER PICK? 460 00:27:47,181 --> 00:27:49,951 >> I THINK AUSTIN BUTLER IS GOING TO WIN. 461 00:27:49,951 --> 00:27:53,821 HIS PERFORMANCE AS ELVIS PRESLEY DOMINATED. 462 00:27:53,821 --> 00:27:56,891 HE WON THE GOLDEN GLOBE, INTERNATIONAL PRESENCE IS GOING 463 00:27:56,891 --> 00:27:59,827 TO COME THROUGH. I THINK COLIN FARRELL IS THE BIG 464 00:27:59,827 --> 00:28:03,064 UPSET HERE. IT WAS ON THIS PROGRAM TWO YEARS 465 00:28:03,064 --> 00:28:07,068 AGO, I SAID CHADWICK BOSEMAN. A LOT OF PEOPLE SAID HE WILL WIN 466 00:28:07,068 --> 00:28:14,075 BUT I'M VOTING FOR ANTHONY HOPKINS. 467 00:28:14,075 --> 00:28:16,944 I THINK COLIN IS A SLEEPER. 468 00:28:16,944 --> 00:28:22,150 >> THAT SCENE WITH THE DONKEY IN "BANSHEES" -- 469 00:28:22,150 --> 00:28:23,151 >> NO SPOILERS. 470 00:28:23,151 --> 00:28:26,888 >> FOR ANIMAL LOVERS, THAT ONE GOT ME. 471 00:28:26,888 --> 00:28:29,057 WE'LL STAY TUNED AND CHECK BACK LATER ON. 472 00:28:29,057 --> 00:28:32,160 MORE PREDICTIONS COMING UP, AS WELL AS MORE INTERVIEWS WITH 473 00:28:32,160 --> 00:28:36,097 SOME OF YOUR FAVORITE NOMINEES, AND AFTER THE BREAK, WE'LL TALK 474 00:28:36,097 --> 00:28:39,200 ABOUT THOSE OSCARS FASHIONS. OUR STYLE EXPERT JOINS US NEXT. 475 00:28:39,200 --> 00:28:40,301 STAY WITH US. 476 00:28:53,114 --> 00:28:57,218 >>> IT HAS BEEN AMAZING. IT'S HARD TO EXPLAIN IN WORDS, 477 00:28:57,218 --> 00:29:03,291 BECAUSE IT'S A MIXTURE OF SORT OF LIKE DISBELIEF, BUT ALSO PURE 478 00:29:03,291 --> 00:29:04,926 JOY. 479 00:29:04,926 --> 00:29:09,931 >> AND THAT IS JUST ONE OF THE TALENTED NOMINEES YOU MAY NOT 480 00:29:09,931 --> 00:29:13,201 RECOGNIZE IN THE SPOT LIGHT TONIGHT WITH THE WORLD'S BIGGEST 481 00:29:13,201 --> 00:29:19,240 MOVIES HERE AT THE 95th ANNUAL ACADEMY AWARDS, AND THE FAMOUS 482 00:29:19,240 --> 00:29:21,142 CARPET THEY WILL WALK DOWN. 483 00:29:21,142 --> 00:29:27,482 >> 50,000 SQUARE FEET OF THIS CHAMPAGNE CARPET. 484 00:29:27,482 --> 00:29:31,252 TONIGHT'S CEREMONY WILL BE BROAD CAST LIVE IN MORE THAN 200 485 00:29:31,252 --> 00:29:33,921 COUNTRIES AND TERRITORIES AROUND THE WORLD. 486 00:29:33,921 --> 00:29:37,225 SIT A GLOBAL SPECTACLE TO SAY THE LEAST. 487 00:29:37,225 --> 00:29:41,329 >> MANY ADMIT THEY LOVE THE OSCAR AS MUCH FOR THE FASHION AS 488 00:29:41,329 --> 00:29:45,366 THE AWARDS. IN A WAY, THE RED CARPET, OR 489 00:29:45,366 --> 00:29:49,303 CHAMPAGNE CARPET THIS YEAR, IS THE BIGGEST FASHION RUNWAY IN 490 00:29:49,303 --> 00:29:50,104 THE WORLD. 491 00:29:50,104 --> 00:29:55,376 >> I COUNT MYSELF AS ONE OF THOSE FANS THAT LOVE TO SEE WHAT 492 00:29:55,376 --> 00:29:59,046 THE STARS ARE WEARING. FIRST OF ALL, YOU ARE LOOKING 493 00:29:59,046 --> 00:30:02,049 EXTRAORDINARY. I TRIED TO TELL WHIT, DON'T BE 494 00:30:02,049 --> 00:30:04,118 AFRAID TO GO WITH THE BIG BOW TIE. 495 00:30:04,118 --> 00:30:09,190 >> I HAVE BOW TIE ENVY. BUT YOU WEAR IT MUCH BETTER. 496 00:30:09,190 --> 00:30:12,160 >> I'VE GOT TO PULL OUT ALL THE STOPS. 497 00:30:12,160 --> 00:30:15,163 OF COURSE, IT IS GREAT TO BE BACK AGAIN WITH YOU GUYS THIS 498 00:30:15,163 --> 00:30:19,167 YEAR. JUST TO RECAP WHAT'S BEEN A STELLAR AWARD SEASON WHEN IT 499 00:30:19,167 --> 00:30:22,203 COMES TO FASHION, FROM RELIABLE RED CARPET ICONS TO BREAKOUT 500 00:30:22,203 --> 00:30:25,273 STYLE STARS, HERE IS A LOOK AT SOME OF THE LOOKS AND TRENDS WE 501 00:30:25,273 --> 00:30:30,378 HAVE SEEN LEADING UP TO TONIGHT. 502 00:30:30,378 --> 00:30:36,417 AWARD SEASON GLAM IS BACK, BABY. THIS SEASON HAS BEEN ALL ABOUT 503 00:30:36,417 --> 00:30:40,121 BIG VOLUME. BRIGHT COLORS. 504 00:30:40,121 --> 00:30:45,326 >> I FEEL LIKE FORRESE, LESS WAS MORE. OH, NO, MORE IS MORE. 505 00:30:45,326 --> 00:30:50,465 WE'RE GOING FULL MAKEUP. IT USED TO BE ABOUT FRESH SKIN. 506 00:30:50,465 --> 00:30:56,170 NO, NO, THE EYES ARE BACK. JAMIE LEE CURTIS, HER MAKEUP 507 00:30:56,170 --> 00:30:59,340 PAIRED WITH THE HAIR, HAS BEEN WONDERFUL. 508 00:30:59,340 --> 00:31:03,311 I'M LOVING THE WAY THAT THE PIXIE KIND OF PLAYS OFF THE 509 00:31:03,311 --> 00:31:07,081 ENTIRE OUTFIT SHE'S BEEN WEARING. SHE'LL GIVE US EYE WEAR. 510 00:31:07,081 --> 00:31:09,183 AND THEN THERE'S A SMOLDERING EYE UNDERNEATH. 511 00:31:09,183 --> 00:31:12,453 >> WHILE WE'RE TALKING ABOUT SMOLDERS, HOW ABOUT THOSE 512 00:31:12,453 --> 00:31:19,327 SMOLDERING GAZES INTO THE CAMERA FROM AUSTIN BUTLER. 513 00:31:19,327 --> 00:31:25,199 >> WE COULD GO ON ABOUT THE 514 00:31:25,199 --> 00:31:30,037 PERFECT HAIR, IT STANDS STRAIGHT UP, AND THEN YOU LOOK AT HIS 515 00:31:30,037 --> 00:31:34,208 EYES, IT'S LIKE HE'S STAIRING INTO YOUR SOUL. 516 00:31:34,208 --> 00:31:39,313 ASIDE FROM THE FABULOUS TUXEDOES THAT HE'S GIVEN US, IT'S A 517 00:31:39,313 --> 00:31:45,353 BEAUTY MOMENT FOR AUSTIN. I THINK ELVIS WOULD BE PROUD. 518 00:31:45,353 --> 00:31:52,360 >> ANA de ARMAS IS NOMINATED FOR PLAYING ANOTHER ICON IN 519 00:31:52,360 --> 00:31:53,060 "BLONDE." 520 00:31:53,060 --> 00:32:02,503 BUT IT WAS RED CARPET QUEEN S 521 00:32:02,503 --> 00:32:02,603 SENSAYA. 522 00:32:02,603 --> 00:32:10,411 >> WE'VE SEEN IT ON OTHERS, WITH THOSE REALLY ROMANTIC WAVES. 523 00:32:10,411 --> 00:32:16,017 IT ADDS TO THAT EVENING GLAMOUR WE'RE GOING TO SEE A LOT MORE OF. 524 00:32:16,017 --> 00:32:22,056 >> WE'VE SEEN BIG SLEEVES, BIG SHOULDERS, LOTS OF SPARKLE ON 525 00:32:22,056 --> 00:32:27,061 FASHION'S BREAKOUT STARS. 526 00:32:27,061 --> 00:32:33,301 AND RELIABLE RED CARPET ICONS. 527 00:32:33,301 --> 00:32:36,337 >> ANGELA BASSETT DID THE THING. I HAD TO DO IT. 528 00:32:36,337 --> 00:32:40,207 SHE'S DONE THE THING EVERY SINGLE TIME SHE STEPS ON THE 529 00:32:40,207 --> 00:32:44,278 CARPET. THE HAIR IS DRAMATIC. THE DRESSES ARE DRAMATIC. 530 00:32:44,278 --> 00:32:47,448 THE MAKEUP IS FLAWLESS. 531 00:32:47,448 --> 00:32:52,320 >> EIGHT-TIME NOMINEE AND RED CARPET ROYALTY CATE BLANCHETT IS 532 00:32:52,320 --> 00:32:57,124 CEMENTING HER STYLE ICON TAT TUS BY CONTINUING TO SHOP HER 533 00:32:57,124 --> 00:33:01,462 CLOSET, REWEARING MULTIPLE PAST LOOKS THIS SEASON. 534 00:33:01,462 --> 00:33:05,232 UPDATING HER 2015 OSCAR DRESS, 535 00:33:05,232 --> 00:33:12,473 AND HER ARMANNI LOOK AT THE S.A.G. AWARDS WAS THE THIRD TIME 536 00:33:12,473 --> 00:33:16,410 SHE WORE THE GOWN. I CAN'T WAIT TO SEE IF SHE 537 00:33:16,410 --> 00:33:20,448 RECYCLES ONE OF THESE ICONIC LOOKS TONIGHT, WHETHER OR NOT 538 00:33:20,448 --> 00:33:27,221 SHE TAKES HOME THAT GOLDEN GOD. OF COURSE, CATE BLANCHETT ISN'T 539 00:33:27,221 --> 00:33:30,491 THE ONLY PERSON WHO HAS BEEN DIGGING BACK THROUGH HER FASHION 540 00:33:30,491 --> 00:33:32,293 ARCHIVES. THIS SEASON, WE HAVE SEEN SOME 541 00:33:32,293 --> 00:33:39,200 OF THE YOUNGER STAR LETS WEARIN VINTAGE PIECES OLDER THAN THEY 542 00:33:39,200 --> 00:33:46,641 ARE. AND ZENDAYA WAS IN VERSACE FROM 543 00:33:46,641 --> 00:33:50,244 2002. AT THAT SAME SHOW, SHE CHANGED 544 00:33:50,244 --> 00:33:53,114 MID SHOW FROM VINTAGE PRADA FROM 1993. 545 00:33:53,114 --> 00:33:56,517 JUST TO GIVE YOU CONTEXT, SHE WAS BORN IN 1996. 546 00:33:56,517 --> 00:34:03,190 AND THEN, OF COURSE, OLIVIA RODRIGO. 547 00:34:03,190 --> 00:34:09,296 THESE ARE CLEARY BY STELLA McCARTNEY PANTS FROM 2001. 548 00:34:09,296 --> 00:34:16,504 OF COURSE, THEY'RE ALSO SEEN ON CARRIE BRADSHAW IN AN EPISODE OF 549 00:34:16,504 --> 00:34:21,509 "SEX IN THE CITY." OF COURSE, IT'S NOT ENOUGH FOR 550 00:34:21,509 --> 00:34:25,546 THESE YOUNG STARS TO WANT A CUSTOM GOWN, NOW THEY HAVE TO GO 551 00:34:25,546 --> 00:34:26,480 ARCHIVE DIVING. 552 00:34:26,480 --> 00:34:30,384 >> WE'VE BEEN DOING SOME ARCHIVE DIVING AROUND HERE BY THE WAY. 553 00:34:30,384 --> 00:34:34,622 YOU KNOW WHAT I NOTICED THERE? AUSTIN BUTLER, THE JUMBO BOW TIE. 554 00:34:34,622 --> 00:34:37,358 >> YOU MISSED OUT. 555 00:34:37,358 --> 00:34:42,296 >> I HAVE IT IN MY BAG.PWHEN YO JAMES BOND. 556 00:34:42,296 --> 00:34:48,335 WHEN I WEAR IT, I LOOK LIKE BOZO THE CLOWN. THANK YOU SO MUCH. 557 00:34:48,335 --> 00:34:53,541 AS YOU MENTIONED, CATE BLANCHETT IS OFF AND ON THE BEST DRESSED 558 00:34:53,541 --> 00:34:57,244 LIST, AND ALREADY A TWO-TIME OSCAR WINNER IS NOMINATED 559 00:34:57,244 --> 00:35:02,583 TONIGHT FOR HER PORTRAYAL OF A TROUBLED MUSE CAM CONDUCTOR IN 560 00:35:02,583 --> 00:35:07,221 "TAR" AND CHRIS CONLEY HAD A CHANCE TO SIT DOWN WITH HER. 561 00:35:07,221 --> 00:35:10,591 >> NOW IS THE TIME TO CONDUCT MUSIC THAT ACTUALLY REQUIRES 562 00:35:10,591 --> 00:35:17,431 SOMETHING OF YOU. NEW MUSIC THAT EVERYBODY KNOWS 563 00:35:17,431 --> 00:35:20,434 BT WILL HEAR DIFFERENTLY WHEN YOU INTERPRET IT FOR THEM. 564 00:35:20,434 --> 00:35:25,406 >> I'M STRUCK BY HOW BRILLIANTLY YOU INHABIT THE INTELLECTUAL 565 00:35:25,406 --> 00:35:26,674 UNDERSTANDING OF BEING A CONDUCTOR. 566 00:35:26,674 --> 00:35:29,543 DOES THAT BECOME SOMETHING THAT ENHANCES YOUR OWN LIFE, THE 567 00:35:29,543 --> 00:35:32,213 KNOWLEDGE YOU TAKE ON AS YOU PLAY A ROLE LIKE THIS? 568 00:35:32,213 --> 00:35:37,585 >> LOOK, IT'S A FORM OF ACTIVE ANTHROPOLOGY FOR ME, IN A WAY. 569 00:35:37,585 --> 00:35:41,288 ACTING, I DON'T WANT TO SOUND TOO -- 570 00:35:41,288 --> 00:35:42,590 >> GO RIGHT AHEAD. 571 00:35:42,590 --> 00:35:46,494 >> THANK YOU. I'M GLAD YOU ASKED THAT. 572 00:35:46,494 --> 00:35:53,300 BUT IT'S A WAY OF ACTUALLY FINDING OUT ABOUT A POPULAR LIFE 573 00:35:53,300 --> 00:35:57,404 THAT YOU THINK YOU HAVE UNDERSTOOD BUT YOU REALIZE YOU 574 00:35:57,404 --> 00:36:01,342 KNOW NEXT TO NOTHING ABOUT. SO I APPRECIATE A CLASSICAL 575 00:36:01,342 --> 00:36:04,745 MUSIC AS A PUNTER, BUT I WAS NEVER ABLE TO GIVE LANGUAGE TO 576 00:36:04,745 --> 00:36:10,317 THE FEELING I HAD. AND SO TO EMBODY LIDIA TAR WAS 577 00:36:10,317 --> 00:36:13,320 TO SORT OF BRING THE HEART AND MIND TOGETHER. 578 00:36:13,320 --> 00:36:21,495 ♪ 579 00:36:21,495 --> 00:36:24,765 MUSIC IS ALL ABOUT PRESENCE. YOU BREATHE IN THE INSPIRATION, 580 00:36:24,765 --> 00:36:30,638 AND THE MUSIC SOUNDS AS EX-HILATION. 581 00:36:30,638 --> 00:36:32,339 SO IT'S ALL ABOUT BREATHING WITH 582 00:36:32,339 --> 00:36:42,283 THE AUDIENCE AND THE ORCHESTRA. 583 00:36:42,283 --> 00:36:43,584 >> BEAUTIFUL. 584 00:36:43,584 --> 00:36:46,554 >> I WAS PREPARING DURING THE PANDEMIC, SO ALL OF THIS WAS 585 00:36:46,554 --> 00:36:49,657 HAPPENING FOR ME ONLINE. BUT TO WATCH THESE CONDUCTORS 586 00:36:49,657 --> 00:37:00,668 AND HOW ID IDYOSYNCRATIC, GIVEN 587 00:37:00,668 --> 00:37:04,371 THAT CONDUCTING IS A FORM OF COMMUNICATION, ACTING IS A FORM 588 00:37:04,371 --> 00:37:06,507 OF COMMUNICATION. IT'S A WAY OF BRINGING, I 589 00:37:06,507 --> 00:37:10,444 SUPPOSE, A SKILLSET THAT I LOVE TO A SKILLSET THAT I KNEW 590 00:37:10,444 --> 00:37:16,717 NOTHING ABOUT. 591 00:37:16,717 --> 00:37:19,720 >> SO GREAT TO TALK TO HER ABOUT THAT AMAZING PERFORMANCE. 592 00:37:19,720 --> 00:37:25,759 IF ANY OF YOU SAW "TAR" AND THE WEIRD AL YANUKOVYCH TV MOVIE 593 00:37:25,759 --> 00:37:30,464 "WEIRD" YOU KNOW WHAT A YEAR IT WAS FOR MAJOR STARS PLAYING THE 594 00:37:30,464 --> 00:37:35,436 ACCORDION ON SCREEN. SO WHEN SHE ACCEPTED HER AWARD 595 00:37:35,436 --> 00:37:40,407 IN JANUARY, SHE PRAISED THE WORK OF ANDREA RISEBOROUGH FOR HER 596 00:37:40,407 --> 00:37:45,412 LEAD PERFORMANCE IN A LITTLE SEEN FILM CALLED "TO LESLIE." 597 00:37:45,412 --> 00:37:51,552 NINE DAYS LATER, SHE SHOCKED THE WORLD BY BACKING AN ACADEMY 598 00:37:51,552 --> 00:37:55,522 AWARD NOMINEE. IT'S BECOME THE FOCUS OF A MAJOR 599 00:37:55,522 --> 00:37:57,424 CONTROVERSY. HOW ABOUT YOU GUYS FOR MORE? 600 00:37:57,424 --> 00:37:59,526 >> ABSOLUTELY, CHRIS. THANK YOU SO MUCH. 601 00:37:59,526 --> 00:38:00,861 THAT'S BEEN GETTING A LOT OF ATTENTION. 602 00:38:00,861 --> 00:38:06,567 WE WANT TO LEARN MORE ABOUT THAT CONTROVERSY, SO WE BROUGHT BACK 603 00:38:06,567 --> 00:38:08,903 ELIZABETH AND CLAYTON WHO COVERED THAT STORY. 604 00:38:08,903 --> 00:38:13,841 CLAYTON, WHAT WAS IT SPECIFICALLY ABOUT THE ANDREA 605 00:38:13,841 --> 00:38:15,843 RISEBOROUGH CAMPAIGN THAT MADE IT CONTROVERSIAL? 606 00:38:15,843 --> 00:38:20,614 >> SHE RECRUITED A LOT OF HEAVY HITTERS, SALLY FIELD, JANE 607 00:38:20,614 --> 00:38:25,419 FONDA, COMING OUT TO BAT FOR HER. MARY McCORMICK, THE WIFE OF 608 00:38:25,419 --> 00:38:29,690 MICHAEL MORRIS, WHO IS THE DIRECTOR OF "TO LESLIE," CAME IN 609 00:38:29,690 --> 00:38:35,529 THERE, WERE GETTING DIRECT CALLS TO MEMBERS, WHICH IS A BIG 610 00:38:35,529 --> 00:38:37,731 NO-NO. AND THEN THEY HAD, OBVIOUSLY, 611 00:38:37,731 --> 00:38:40,567 THEIR BIG GATHERING OF EVENTS, PRIVATE EVENTS. 612 00:38:40,567 --> 00:38:43,437 YOU CANNOT DO THAT IN THE ACADEMY CIRCLES. 613 00:38:43,437 --> 00:38:45,706 AND THEY GOT, YOU KNOW, CALLED OUT FOR IT. 614 00:38:45,706 --> 00:38:48,709 BUT THIS HAPPENS A LOT IN THE BUSINESS, BUT THEY WERE MUCH 615 00:38:48,709 --> 00:38:49,743 MORE LOUDER ABOUT IT. 616 00:38:49,743 --> 00:38:53,047 >> ELIZABETH, THE ACADEMY DID ALLOW HER TO KEEP HER NOMINATION. 617 00:38:53,047 --> 00:38:56,583 DO YOU THINK THAT GOING FORWARD, THE GUIDELINES SHOULD BE CHECKED 618 00:38:56,583 --> 00:38:57,718 OUT A LITTLE BIT MORE? 619 00:38:57,718 --> 00:38:59,753 >> I THINK THAT THEY ARE GOING TO BE. 620 00:38:59,753 --> 00:39:02,856 THE ACADEMY DID SAY THEY WERE CONDUCTING A REVIEW AND THEY 621 00:39:02,856 --> 00:39:07,528 WILL LOOK AT THE GUIDELINES FOR NEXT YEAR IN THIS AGE OF SOCIAL 622 00:39:07,528 --> 00:39:09,897 MEDIA. A LOT OF THIS PLAYED OUT ON 623 00:39:09,897 --> 00:39:13,734 INSTAGRAM AND ACROSS DIFFERENT SOCIAL MEDIA PLATFORMS BECAUSE 624 00:39:13,734 --> 00:39:17,938 AS CLAYTON MENTIONED, A LOT OF A-LISTERS WERE CAMPAIGNING FOR 625 00:39:17,938 --> 00:39:22,676 HER. OF COURSE, YOU CAN'T SAY NO CAMPAIGNING ON INSTAGRAM. 626 00:39:22,676 --> 00:39:27,915 BUT ONE OF THE BIG NO-NOES THAT WENT AGAINST ACADEMY GUIDELINES 627 00:39:27,915 --> 00:39:31,852 IS MENTIONING ANOTHER NOMINEE. YOU CAN'T MENTION SOMEONE ELSE 628 00:39:31,852 --> 00:39:34,621 THAT COULD BE NOMINATED IN THE SAME CATEGORY AS YOU. 629 00:39:34,621 --> 00:39:41,762 AND BY THEY, I MEAN, THEY POSTED A REVIEW THAT MENTIONED CATE 630 00:39:41,762 --> 00:39:41,895 BLANCHETT. 631 00:39:41,895 --> 00:39:46,533 >> FOR PEOPLE NOT INSIDERS IN ALL THIS SAYING WHAT ABOUT THE 632 00:39:46,533 --> 00:39:51,839 BIG BUDGET MOVIEMAKERS, THE STUDIOS OUT THERE WHO ARE DOING 633 00:39:51,839 --> 00:39:55,943 THESE FOR YOUR CONSIDERATION CAMPAIGNS, HOW IS THIS ANY 634 00:39:55,943 --> 00:39:56,610 DIFFERENT? 635 00:39:56,610 --> 00:39:58,779 >> THE BIG DIFFERENCE IS, NOT 636 00:39:58,779 --> 00:40:06,620 ALL ACTRESSES ARE CREATED EQUAL, 637 00:40:06,620 --> 00:40:10,824 RIGHT? VIOLA DAVIS "THE WOMAN KING" NOT 638 00:40:10,824 --> 00:40:13,761 NOMINATED. WE ARE 21 YEARS AFTER HALLE 639 00:40:13,761 --> 00:40:17,898 BARRY BECAME THE FIRST BLACK WOMAN TO WIN BEST ACTRESS, AND 640 00:40:17,898 --> 00:40:20,667 WE HAVE YET TO HAVE ANOTHER ONE. IT'S NOT ANDREA RISEBOROUGH'S 641 00:40:20,667 --> 00:40:25,873 FAULT, BUT I DON'T SEE THAT SAME ENERGY FOR BLACK WOMEN IN THIS 642 00:40:25,873 --> 00:40:28,976 BUSINESS WHEN THEY NEED SOME EXTRA HELP TO GET THEM OVER THE 643 00:40:28,976 --> 00:40:30,811 FINISH LINE. WHAT IS CAN HAPPEN WHEN YOU 644 00:40:30,811 --> 00:40:34,581 DON'T HAVE THOSE BIG A-LISTER FRIENDS, WHAT CAN ONE DO? 645 00:40:34,581 --> 00:40:38,585 >> THAT'S THE QUESTION HERE. WAS SHE AND THE FILM, WERE THEY 646 00:40:38,585 --> 00:40:42,022 BEING SAVVY AND SMART BY GATHERING THEIR A-LIST FRIENDS 647 00:40:42,022 --> 00:40:44,992 OR GOING AGAINST THE RULES? IN THE BEGINNING WHEN THIS 648 00:40:44,992 --> 00:40:48,695 NOMINATION CAME OUT, I WAS WITH CHRIS CONLEY, WE WERE ON "GOOD 649 00:40:48,695 --> 00:40:51,665 MORNING AMERICA" WE WERE SHOCKED WHEN HER NAME WAS ANNOUNCED. 650 00:40:51,665 --> 00:40:55,803 THE FIRST REACTION WAS, THIS IS WONDERFUL. 651 00:40:55,803 --> 00:41:03,677 BUT NOT EVERYBODY HAS THIS $100 MILLION BUDGETS FOR MARKETING 652 00:41:03,677 --> 00:41:07,014 AND OSCAR CAMCAMPAIGNS. BUT IT SEEMED LIKE THEY WERE 653 00:41:07,014 --> 00:41:08,015 MUDDYING THE WATERS. 654 00:41:08,015 --> 00:41:10,951 >> SHE DID HAVE A GREAT PERFORMANCE. 655 00:41:10,951 --> 00:41:14,021 I HAVE FAMILY MEMBERS WHO STRUGGLED WITH ADDICTION. 656 00:41:14,021 --> 00:41:16,857 THERE'S SOMETHING VERY REAL ABOUT HER PERFORMANCE IN THIS 657 00:41:16,857 --> 00:41:18,725 FILM. BUT RULES ARE RULES AND YOU HAVE 658 00:41:18,725 --> 00:41:19,626 TO FOLLOW THEM. 659 00:41:19,626 --> 00:41:23,063 >> THAT'S A GOOD POINT, BECAUSE HER PERFORMANCE WAS INCREDIBLE, 660 00:41:23,063 --> 00:41:24,665 AND NOBODY CAN DENY THAT. 661 00:41:24,665 --> 00:41:27,801 >> A LOT OF PEOPLE FEEL THAT SOME WERE SNUBBED. 662 00:41:27,801 --> 00:41:33,607 MORE ON THAT IN A LITTLE BIT. A LOT MORE COMING UP ON OUR 663 00:41:33,607 --> 00:41:35,008 COUNTDOWN. UP NEXT, MY CONVERSATION WITH 664 00:41:35,008 --> 00:41:42,716 THE LEGENDARY ANGELA BASSETT. AND WE'LL TAKE A LOOK AT SOME OF 665 00:41:42,716 --> 00:41:44,184 HER EARLIEST ACTING ROLES BEFORE SHE WAS FAMOUS. 666 00:41:44,184 --> 00:41:46,587 WE'LL BE RIGHT BACK. 667 00:41:56,864 --> 00:42:00,801 >>> WELCOME BACK TO HOLLYWOOD AND OUR COUNTDOWN TO THE 95th 668 00:42:00,801 --> 00:42:03,770 ANNUAL ACADEMY AWARDS. YOU'RE LOOKING LIVE OUTSIDE THE 669 00:42:03,770 --> 00:42:08,075 SCENE OF THE DOLBY THEATRE WHERE THOSE COVETED GOLD STATUETTES 670 00:42:08,075 --> 00:42:09,109 WILL BE HANDED OUT. 671 00:42:09,109 --> 00:42:14,047 >> HERE'S A LITTLE OSCAR TRIVIA ABOUT THOSE STATUETTES. 672 00:42:14,047 --> 00:42:18,619 THEY ARE SOLID BRONZE AND PLATED IN 24 CARAT GOLD. 673 00:42:18,619 --> 00:42:26,093 BUT DURING WORLD WAR II, DUE TO A SHORTAGE OF METAL, THEY WERE 674 00:42:26,093 --> 00:42:30,797 MADE WITH PAINTED PLASTER. FOLLOWING THE WAR, THEY TRADED 675 00:42:30,797 --> 00:42:33,066 THEM IN AND GOT THE REAL THING EVENTUALLY. 676 00:42:33,066 --> 00:42:38,772 AND WINNERS OFTEN COMMENT ABOUT HOW HEAVY THE OSCAR IS. 677 00:42:38,772 --> 00:42:42,743 HE WEIGHS 8 1/2 POUNDS AND HAS NOT GAINED AN OUNCE SINCE 1929. 678 00:42:42,743 --> 00:42:45,846 WE GOT TO HOLD HIM THE OTHER DAY, TOO. 679 00:42:45,846 --> 00:42:51,051 >> YOU DID. I DID NOT. OSCAR LOOKS QUITE LIKE YOU WITH 680 00:42:51,051 --> 00:42:53,887 THE HIGH CHEEKBONES, THE CUTE LITTLE SAW. 681 00:42:53,887 --> 00:42:58,825 >> YOU ARE GIVING THAT OSCAR STATUE A RUN FOR HIS MONEY WITH 682 00:42:58,825 --> 00:43:00,861 THAT DRESS TODAY. 683 00:43:00,861 --> 00:43:03,964 >> WE TURN NOW TO THE TALENTED WOMEN NOMINATED FOR BEST 684 00:43:03,964 --> 00:43:05,933 SUPPORTING ACTRESS. EACH ONE WILL TELL YOU THAT SHE 685 00:43:05,933 --> 00:43:10,938 SPENT A LOT OF TIME EARLY ON JUST TRYING TO GET NOTICED BY 686 00:43:10,938 --> 00:43:15,742 THE RIGHT MOVIE PRODUCER ON A SITCOM OR TV COMMERCIAL. 687 00:43:15,742 --> 00:43:20,847 >> WHETHER IT WAS TRYING TO ESCAPE A ZOMBIE APOCALYPSE OR A 688 00:43:20,847 --> 00:43:23,917 BROADWAY SHOW, THIS YEAR'S NOMINEES WORKED VERY HARD TO GET 689 00:43:23,917 --> 00:43:29,923 HERE TONIGHT. AND HERE NOW ARE THOSE BEST 690 00:43:29,923 --> 00:43:32,726 SUPPORTING ACTRESS CONTENDERS BEFORE THEY WERE NOMINEES. 691 00:43:32,726 --> 00:43:37,064 >> I WAS JUST HOPING THAT YOU COULD EXPLAIN THIS. 692 00:43:37,064 --> 00:43:41,034 >> JAMIE LEE CURTIS PLAYED A GRUMPY IRS INSPECTOR IN 693 00:43:41,034 --> 00:43:43,103 "EVERYTHING EVERYWHERE ALL AT ONCE." 694 00:43:43,103 --> 00:43:48,208 >> NOW, YOU MAY ONLY SEE A PILE OF BORING FORMS AND NUMBERS, BUT 695 00:43:48,208 --> 00:43:49,776 I SEE A STORY. 696 00:43:49,776 --> 00:43:53,213 >> SHE ADMITS THAT GROWING UP THE CHILD OF HOLLYWOOD ROYALTY 697 00:43:53,213 --> 00:43:59,086 HELPED HER GET A FOOTHOLD IN MID '70s TELEVISION. 698 00:43:59,086 --> 00:44:05,926 SHE WAS STILL A TEENAGER ON "QUINCY." 699 00:44:05,926 --> 00:44:08,996 HERE AS A WAITRESS ON "COLUMBO." 700 00:44:08,996 --> 00:44:11,765 >> I CAN COME BACK. 701 00:44:11,765 --> 00:44:16,003 >> AND ON "CHARLIE'S ANGELS," A PRO GOLFER NEEDING PROTECTION. 702 00:44:16,003 --> 00:44:18,005 >> IF SOMEBODY WANTS TO KILL YOU -- 703 00:44:18,005 --> 00:44:20,240 >> NO MATTER WHAT HAPPENS, I'M NOT BACKING OUT. 704 00:44:20,240 --> 00:44:23,143 >> AND A GUEST SPOT ON "THE LOVE BOAT." 705 00:44:23,143 --> 00:44:28,115 >> THE LAST TIME I HAD CORNISH GAME HEN IS THE NIGHT YOU 706 00:44:28,115 --> 00:44:30,117 PROPOSED ME. 707 00:44:30,117 --> 00:44:32,219 >> EVEN HER MOM SHOWS UP ON BOARD. 708 00:44:32,219 --> 00:44:34,788 BUT WE LOVE FIND THING RARE GEM. 709 00:44:34,788 --> 00:44:37,924 >> WHEN DID THE PENAL SYSTEM GO COED? 710 00:44:37,924 --> 00:44:43,163 >> JAMIE PLAYING A PRISONER ON "BUCK ROGERS." 711 00:44:43,163 --> 00:44:47,868 >> I DON'T CARE ABOUT YOU, SO STOP PRETENDING LIKE YOU CARE 712 00:44:47,868 --> 00:44:50,003 FOR ME AND LEAVE ME ALONE! 713 00:44:50,003 --> 00:44:51,004 >> SO CUTE. 714 00:44:51,004 --> 00:44:57,844 >> HER CO-STAR, STEPHANIE SHU, BRAVES THE MULTIVERSE IN 715 00:44:57,844 --> 00:44:58,278 "EVERYTHING EVERYWHERE ALL AT ONCE." 716 00:44:58,278 --> 00:45:02,382 >> HEY, EVALYN. BAGEL. 717 00:45:02,382 --> 00:45:09,122 >> HER BREAKOUT ROLE PLAYING MAY, EXPLORING HER INTERRACIAL 718 00:45:09,122 --> 00:45:11,124 RELATIONSHIP WITH JOEL IN 1960s NEW YORK. 719 00:45:11,124 --> 00:45:13,093 >> WHAT'S THE SONG ABOUT? 720 00:45:13,093 --> 00:45:18,065 >> THE USUAL STUFF. BOY MEETS GIRL, BOY LOSES GIRL, 721 00:45:18,065 --> 00:45:21,068 GIRL BUYS KNIFE WITH 12-INCH BLADE. 722 00:45:21,068 --> 00:45:24,338 >> AND PROTESTING RACIAL STEREOTYPES. 723 00:45:24,338 --> 00:45:31,244 >> THE WHOLE PORTRAYAL IS FACIAL. A GEISHA, SERIOUSLY? 724 00:45:31,244 --> 00:45:34,948 WHY WOULDN'T SHE BE A SUCCESSFUL BUSINESSWOMAN OR A PROFESSOR OR 725 00:45:34,948 --> 00:45:36,850 STAY AT HOME DAD? 726 00:45:36,850 --> 00:45:40,153 >> I LOVE THAT PILLOW. THAT WILL LOOK SO GOOD IN MY 727 00:45:40,153 --> 00:45:40,987 APARTMENT. 728 00:45:40,987 --> 00:45:45,125 >> PLAYING GWYNETH PALTROW'S ASSISTANT. 729 00:45:45,125 --> 00:45:50,263 THAT'S HER, STEALING ITEMS FROM THE GREEN ROOM FOR GWYNETH. 730 00:45:50,263 --> 00:45:56,069 AND "GMA" WENT BEHIND SCENES WHEN "BE MORE CHILL" APPEARED ON 731 00:45:56,069 --> 00:46:01,041 BROADWAY IN 2018. KERRY CONDON IS NOMINATED FOR 732 00:46:01,041 --> 00:46:05,078 HER ROLE AS COLIN FARRELL'S SISTER IN "THE BANSHEES OF 733 00:46:05,078 --> 00:46:05,245 INISHERIN." 734 00:46:05,245 --> 00:46:09,216 >> LUCKILY YOU WON'T HAVE TO PUT UP WITH US MORE THAN ONE NIGHT. 735 00:46:09,216 --> 00:46:12,119 SO TRY EATING WITH YOUR MOUTH CLOSED. 736 00:46:12,119 --> 00:46:15,255 >> SHE PLAYS THE DAUGHTER OF HITMAN MIKE ON "BETTER CALL 737 00:46:15,255 --> 00:46:17,157 SAUL." 738 00:46:17,157 --> 00:46:19,259 >> WOW. 739 00:46:19,259 --> 00:46:26,166 >> AND TRIES TO SURVIVE A ZOMBIE APOCALYPSE ON "THE WALKING 740 00:46:26,166 --> 00:46:26,299 DEAD." 741 00:46:26,299 --> 00:46:29,903 >> I CAN'T DO THINGS LIKE THIS. LET ME BE WITH HIM. 742 00:46:29,903 --> 00:46:35,375 >> YOU NEVER SEE HER, BUT IN CAPTAIN AMERICA'S SILVER WAR, DO 743 00:46:35,375 --> 00:46:49,389 YOU RECOGNIZE THAT ACCENT? 744 00:46:49,389 --> 00:46:55,362 AND HUNG CHAU IS NOMINATED FOR "THE WHALE." 745 00:46:55,362 --> 00:47:01,435 WE FOUND HER AS A CHATTY WAITRESS ON "GOOD LUCK CAB." 746 00:47:01,435 --> 00:47:06,039 AS A LAB TECH ON "NCIS." 747 00:47:06,039 --> 00:47:08,241 >> WE THINK YOU HAVE A DOUBLE HOMICIDE ON YOUR HAD. 748 00:47:08,241 --> 00:47:13,013 >> A SECRETARY TURNED BOSS IN "HOME COMING WITH BOBBY." 749 00:47:13,013 --> 00:47:15,148 >> I'M A PROBLEM SOLVER. 750 00:47:15,148 --> 00:47:17,417 >> YOU WERE A PROBLEM SOLVER. BUT NOW YOU ARE A PROBLEM. 751 00:47:17,417 --> 00:47:19,986 I WANT YOUR HOUSE. 752 00:47:19,986 --> 00:47:24,291 >> AND A PREDATORY TRILLIONAIRE IN "THE WATCHMAN." 753 00:47:24,291 --> 00:47:26,059 >> HOLD ON A MINUTE HERE. 754 00:47:26,059 --> 00:47:27,260 >> YOU DON'T HAVE A MINUTE. 755 00:47:27,260 --> 00:47:32,232 >> I HAVE TO GO WITH THESE GUYS TO NORWAY. 756 00:47:32,232 --> 00:47:36,236 >> AND WOWS US IN "DOWN SIZING." 757 00:47:36,236 --> 00:47:42,175 >> I'M SO HAPPY. THANK YOU. 758 00:47:42,175 --> 00:47:50,150 >> THE LEGENDARY ANGELA BASSETT IN "BLACK PANTHER: WAKANDA 759 00:47:50,150 --> 00:47:50,317 FOREVER." 760 00:47:50,317 --> 00:47:55,121 >> AND I WARNED YOU ABOUT TAKING MY DAUGHTER ON THIS MISSION, AND 761 00:47:55,121 --> 00:47:57,224 YOU LOST HER. 762 00:47:57,224 --> 00:48:04,064 >> BACK IN 1985, SHE'S A GRIEVING DAUGHTER ON "SPENCER 763 00:48:04,064 --> 00:48:07,067 FOR HIRE." BLINK AND YOU'LL MISS HER AS A 764 00:48:07,067 --> 00:48:10,237 TV REPORTER IN THE THRILLER "FX." 765 00:48:10,237 --> 00:48:16,376 SHE'S SINGING IN "THE FLASH" AND A FLIGHT ATTENDANT IN 766 00:48:16,376 --> 00:48:20,313 "KINDERGARTEN COP." SHE GIVES UP HER SON IN "BOYS IN 767 00:48:20,313 --> 00:48:21,248 THE HOOD." 768 00:48:21,248 --> 00:48:25,452 >> I CAN'T TEACH HIM HOW TO BE A MAN. THAT'S YOUR PROBLEM. 769 00:48:25,452 --> 00:48:31,191 >> AND RECLAIMS HER DAUGHTER ON "227." 770 00:48:31,191 --> 00:48:36,062 AND HER APPEARANCES ON "GUIDING LIGHT." "SEARCH FOR TOMORROW." 771 00:48:36,062 --> 00:48:37,330 >> YOU'RE MAD, RIGHT? 772 00:48:37,330 --> 00:48:40,400 >> ONLY DOGS GET MAD. 773 00:48:40,400 --> 00:48:46,506 >> AND BACK IN 1987, ONE OF HER 774 00:48:46,506 --> 00:48:50,410 VERY FIRST ROLE ON "RYAN'S HOPE." 775 00:48:50,410 --> 00:48:57,083 >> DON'T UNDERESTIMATE ME. 776 00:48:57,083 --> 00:48:59,452 >> THESE ARCHIVES ARE EVERYTHING. ALL DAY. 777 00:48:59,452 --> 00:49:04,224 KEEP THEM COMING FOR SURE. CAN'T BELIEVE ANGELA BASSETT 778 00:49:04,224 --> 00:49:07,027 SPENT SO MUCH TIME ON SOAP OPERAS BEFORE FILM. 779 00:49:07,027 --> 00:49:10,096 BUT THOSE ROLES PREPARED HER FOR THIS ICONIC CAREER. 780 00:49:10,096 --> 00:49:13,133 I KNOW YOU HAD A CHANCE TO SIT DOWN WITH HER RECENTLY. 781 00:49:13,133 --> 00:49:16,336 >> JUST AS TALENTED AS SHE, IS SHE'S JUST AS STUNNING. 782 00:49:16,336 --> 00:49:20,307 SHE'S 64 YEARS OLD. SHE'S THE ORIGINAL BENJAMIN 783 00:49:20,307 --> 00:49:23,143 BUTTONS, AGING BACKWARDS AT THIS POINT. 784 00:49:23,143 --> 00:49:26,179 HARD TO BELIEVE IT'S BEEN 30 YEARS SINCE SHE RECEIVED HER 785 00:49:26,179 --> 00:49:32,352 FIRST OSCAR NOMINATIONS. TALKING ABOUT WHEN SHE DID 786 00:49:32,352 --> 00:49:39,426 TEACHA TEACH -- DID TINA TURNER. AND NOW IN "BLACK PANTHER: 787 00:49:39,426 --> 00:49:39,659 WAKANDA FOREVER." 788 00:49:39,659 --> 00:49:42,062 >> CONGRATULATIONS ON NOMINATION NUMBER TWO. 789 00:49:42,062 --> 00:49:42,529 >> THANK YOU. 790 00:49:42,529 --> 00:49:46,166 >> LAST TIME WAS 30 YEARS AGO. HOW IS THIS TIME DIFFERENT? 791 00:49:46,166 --> 00:49:51,137 >> IT SEEMS A LITTLE MORE HECTIC, BUT I'M JUST TRYING TO 792 00:49:51,137 --> 00:49:56,242 TAKE IT IN. IT WAS A TOTAL SHOCK, YOU KNOW. 793 00:49:56,242 --> 00:50:00,080 THERE WAS A SURPRISING ELEMENT FOR THIS. 794 00:50:00,080 --> 00:50:02,449 BUT IT'S ALL EXCITING, IT'S ALL GREAT. 795 00:50:02,449 --> 00:50:09,589 >> WE KNOW WHAT YOU WHISPER. 796 00:50:09,589 --> 00:50:13,259 ♪ 797 00:50:13,259 --> 00:50:18,565 >> AS YOU WERE JUST MENTIONING, 798 00:50:18,565 --> 00:50:27,140 THE FIRST PERSON OF COLOR -- 799 00:50:27,140 --> 00:50:28,575 >> HAVE I NOT GIVEN EVERYTHING! 800 00:50:28,575 --> 00:50:30,744 >> HAVE I NOT GIVEN EVERYTHING, RIGHT? 801 00:50:30,744 --> 00:50:36,316 DID YOU REALIZE THE MAGNITUDE OF YOUR PORTRAYAL AND HOW IT COULD 802 00:50:36,316 --> 00:50:38,551 REALLY LAND IN SUCH AN IMPACTFUL WAY? 803 00:50:38,551 --> 00:50:42,522 >> OH, NO, I DIDN'T THINK THAT FAR AHEAD. 804 00:50:42,522 --> 00:50:47,127 BUT I KNOW -- I FELT THE POWER, EVEN IN THE FIRST READING OF THE 805 00:50:47,127 --> 00:50:50,597 SCRIPT, OF THAT LINE, OF THAT MOMENT. AND THE TRUTH OF IT. 806 00:50:50,597 --> 00:50:55,602 YOU KNOW, HOW IT RESONATES FOR SHE TRULY HAS, YOU KNOW, HER 807 00:50:55,602 --> 00:50:59,205 ENTIRE FAMILY. AND SHE'S GIVEN HER LIFE AND 808 00:50:59,205 --> 00:51:00,340 ENERGY TO HER COUNTRY. 809 00:51:00,340 --> 00:51:04,577 >> TELL ME ABOUT THE DEPTH OF THAT CHARACTER, BECAUSE SHE'S 810 00:51:04,577 --> 00:51:09,249 STRONG, BUT YET SHE'S VULNERABLE. WHEN YOU HAVE THAT KIND OF WIDE 811 00:51:09,249 --> 00:51:13,353 RANGING EMOTION, DO YOU ENJOY PLAYING A CHARACTER LIKE THAT? 812 00:51:13,353 --> 00:51:18,158 >> ABSOLUTELY. IN ALL MY CHARACTERS, I TRIED TO 813 00:51:18,158 --> 00:51:19,626 FIND THAT. I DON'T THINK WE'RE ONE THING, 814 00:51:19,626 --> 00:51:20,460 JUST STRONG. 815 00:51:20,460 --> 00:51:29,369 YOU KNOW, STRONG WITHOUT THAT 816 00:51:29,369 --> 00:51:29,569 COUNTERBALANCE. 817 00:51:29,569 --> 00:51:32,338 >> MY MOTHER TOLD STORIES ABOUT THIS. 818 00:51:32,338 --> 00:51:35,442 >> WHO ARE YOU? 819 00:51:35,442 --> 00:51:40,213 >> I LOOK FOR THAT IN THE CHARACTERS ALSO, THE JOY AGAINST 820 00:51:40,213 --> 00:51:41,247 THE GRIEF. 821 00:51:41,247 --> 00:51:46,553 >> CURIOUS HOW WITH CHADWICK'S PASSING, AND YOU HAVE REAL WORLD 822 00:51:46,553 --> 00:51:50,690 GRIEF, HOW YOU BROUGHT THAT INTO YOUR DELIVERY INTO THE MOVIE? 823 00:51:50,690 --> 00:51:56,596 >> YOU DON'T HAVE TO TRAVEL FAR FOR THAT. THAT LIVES IN US. 824 00:51:56,596 --> 00:52:01,367 HE MADE SUCH AN IMPACT AROUND IMPRINT ON EACH OF US ON THAT 825 00:52:01,367 --> 00:52:03,737 SET. OF COURSE, ON AUDIENCES AROUND 826 00:52:03,737 --> 00:52:04,537 THE WORLD. 827 00:52:04,537 --> 00:52:13,413 >> IT IS YOUR TIME TO BE KING. 828 00:52:13,413 --> 00:52:21,254 >> WE LIVE WITH THE MEMORY OF HIM AND HOW KIND AND MARVELOUS 829 00:52:21,254 --> 00:52:26,426 OF A HUMAN BEING AND ACTOR HE IS. 830 00:52:26,426 --> 00:52:29,696 >> THE KEEQUEEN IS STATELY AND STRONG AND BEAUTIFUL. 831 00:52:29,696 --> 00:52:33,566 CURIOUS WHAT YOU HOPE YOUNG BLACK GIRLS, AND PERHAPS ALL 832 00:52:33,566 --> 00:52:40,406 GIRLS WILL TAKE AWAY FROM SEEING YOUR PORTRAYAL? 833 00:52:40,406 --> 00:52:46,613 >> YOU KNOW, IT'S MARVELOUS, IT'S GRACEFUL. IT IS ENOUGH. 834 00:52:46,613 --> 00:52:50,550 AND THEY TRULY CAN RISE AND BECOME ANYTHING THAT THEY 835 00:52:50,550 --> 00:52:53,686 DESIRE, THAT THEY PUT THEIR HEART AND MIND TO, THAT THEY 836 00:52:53,686 --> 00:52:59,292 GIVE FULL MEASURE OF THEIR DEVOTION. THEY CAN RISE. 837 00:52:59,292 --> 00:53:02,695 >> I TALKED TO SEVERAL OF THE MEMBERS OF THE CAST THERE, AND 838 00:53:02,695 --> 00:53:07,333 THEY ALL SAID THE SAME THING, THAT THEY DIDN'T HAVE TO 839 00:53:07,333 --> 00:53:09,669 MANUFACTURER ANY GRIEF. THAT WHAT WE SAW WAS REAL 840 00:53:09,669 --> 00:53:11,871 BECAUSE OF THE PASSING AFTER CHADWICK. 841 00:53:11,871 --> 00:53:15,575 >>> FROM A HOLLYWOOD ICON TO A BREAKOUT STAR, WHEN WE RETURN, 842 00:53:15,575 --> 00:53:20,547 WE ARE GOING TO HEAR FROM AUSTIN BUTLER WHOSE TURN AS ELVIS 843 00:53:20,547 --> 00:53:24,450 PRESLEY HAS GENERATED SO MUCH AWARD THIS AWARDS SEASON. 844 00:53:32,592 --> 00:53:38,364 ♪ 845 00:53:38,364 --> 00:53:41,568 >>> YOU HAVE TO BE BRAVE, YOU HAVE TO BE AUDACIOUS, YOU HAVE 846 00:53:41,568 --> 00:53:48,408 TO PUT YOURSELF OUT THERE AND DON'T BE AFRAID OF SOUND EFFECTS. 847 00:53:48,408 --> 00:53:50,677 WOMEN CAN DO SOUND EFFECTS AS WELL AS MEN CAN. 848 00:53:50,677 --> 00:53:54,581 LEARN YOUR COMPUTER STUFF AND, YOU KNOW, WORK ON STUDENT FILMS, 849 00:53:54,581 --> 00:53:58,451 WORK ON IT FOR ANYBODY -- EVERYBODY NEEDS A SOUNDTRACK. 850 00:53:58,451 --> 00:54:03,690 PUT YOURSELF OUT THERE, MAKE RELATIONSHIPS. YOU CAN DO IT. 851 00:54:03,690 --> 00:54:06,526 >> AND WELCOME BACK TO HOLLYWOOD. 852 00:54:06,526 --> 00:54:09,729 WE ARE LIVE OUTSIDE THE DOLBY THEATRE WHERE, IN JUST A FEW 853 00:54:09,729 --> 00:54:13,566 HOURS, SOME EXCITED AND NERVOUS NOMINEES WILL BE DREAMING ABOUT 854 00:54:13,566 --> 00:54:15,435 WALKING HOME WITH AN OSCAR. 855 00:54:15,435 --> 00:54:20,640 >> FORM ERWINERS -- 856 00:54:23,776 --> 00:54:28,481 >> RIGHT NOW, WE WANT TO TURN TO WHAT HAS BECOME A PRETTY 857 00:54:28,481 --> 00:54:33,486 BANKABLE GENRE IN HOLLYWOOD, THE BIOPIC, WHICH TELLS THE STORY OF 858 00:54:33,486 --> 00:54:35,822 ONE OF OUR CULTURAL ICONS IN A NEW WAY. 859 00:54:35,822 --> 00:54:41,828 WE LEARNED MORE ABOUT ELVIS, MARE ILYN MONROE AND STEVEN 860 00:54:41,828 --> 00:54:44,631 SPIELBERG THROUGH OSCAR NOMINATED FILMS THIS YEAR. 861 00:54:44,631 --> 00:54:51,738 BUT THEY ARE NOT THE FIRST B BIOPICS TO CATCH OUR ATTENTION. 862 00:54:51,738 --> 00:54:54,507 KELLY HAS MORE. 863 00:54:54,507 --> 00:54:58,678 >> BUYIOPICS HAVE LONG BEEN A STAPLE IN HOLLYWOOD. 864 00:54:58,678 --> 00:55:02,548 THE GREAT ONES FOUND THEIR PLACES IN HISTORY, BUT IT CAN BE 865 00:55:02,548 --> 00:55:08,621 A REAL CHALLENGE TO TELL THOSE STORIES. TAKE A LOOK. THE ICON. 866 00:55:08,621 --> 00:55:13,593 >> HOW WOULD YOU LIKE TO COME WITH ME SING IN TEX WARNER'S 867 00:55:13,593 --> 00:55:13,860 WANT? 868 00:55:13,860 --> 00:55:15,595 >> SO MANY GONE TOO SOON. 869 00:55:15,595 --> 00:55:18,865 >> IF YOU LOVED ME AT ALL, YOU WOULD FEEL SORRY FOR THE 870 00:55:18,865 --> 00:55:20,733 TERRIBLE TROUBLES I'VE BEEN THROUGH. 871 00:55:20,733 --> 00:55:25,571 >> BUT THEIR IMPACT WILL LAST FOREVER. 872 00:55:25,571 --> 00:55:30,543 >> I CAN CARRY WITH ME THE PRESENT MEMORIES OF MY STAY IN 873 00:55:30,543 --> 00:55:35,782 THE MIDST OF THE POOR PEOPLE OF EAST LONDON. 874 00:55:35,782 --> 00:55:41,721 >> "TILL" WAS MY FAVORITE BIOPIC OF THIS YEAR AND IN SEVERAL 875 00:55:41,721 --> 00:55:45,825 YEARS. A BIOPIC WORKS BEST WHEN WE 876 00:55:45,825 --> 00:55:48,861 LEARN SOMETHING NEW ABOUT A FIGURE WE DON'T KNOW MUCH ABOUT. 877 00:55:48,861 --> 00:55:54,934 ♪ 878 00:55:54,934 --> 00:56:00,873 >> THANKS TO THE POWER OF BIOPIC FILMS, WE GET A TASTE OF THEIR 879 00:56:00,873 --> 00:56:03,609 GREATNESS AND A GLIMPSE OF WHERE IT BEGAN. 880 00:56:03,609 --> 00:56:06,546 2022 WAS A GREAT YEAR OF BIOPICS. 881 00:56:06,546 --> 00:56:08,948 >> ARE YOU READY TO FLY? 882 00:56:08,948 --> 00:56:10,650 >> I'M READY. 883 00:56:10,650 --> 00:56:17,590 >> FROM THE KING OF ROCK, 884 00:56:17,590 --> 00:56:21,761 "ELVIS," WONDERFUL PORTRAYED BY AUSTIN BUTLER. 885 00:56:21,761 --> 00:56:26,833 >> ARGUABLY, IT'S ONE TO HAVE BEST OF TEN PICTURES. 886 00:56:26,833 --> 00:56:33,539 >> AND THE BLONDE BOMBSHELL, REINCARNATED BY A RAW AND 887 00:56:33,539 --> 00:56:35,775 RIVETING ANA de ARMAS. TO ONE OF THE GREATEST DIRECTORS 888 00:56:35,775 --> 00:56:39,946 OF ALL-TIME, STEVEN SPIELBERG. THE PIONEER OF MODERN 889 00:56:39,946 --> 00:56:41,514 BLOCKBUSTERS, SHARING HIS LIFE. 890 00:56:41,514 --> 00:56:46,486 >> A GOOD BIOPIC IS ABOUT A MOMENT, A TIME IN PLACE, A VERY 891 00:56:46,486 --> 00:56:49,689 SPECIFIC THING. IN THIS CASE, IT WAS AN 892 00:56:49,689 --> 00:56:51,057 AUTOBIOGRAPHY IN PART ABOUT STEVEN SPIELBERG. 893 00:56:51,057 --> 00:56:53,726 BUT IT WASN'T ABOUT STEVEN SPIELBERG AS MUCH AS IT WAS 894 00:56:53,726 --> 00:56:58,898 ABOUT THE CAMERA. AND THE CAMERA FOR ME WAS SUCH A 895 00:56:58,898 --> 00:57:01,868 METAPHOR FOR LIFE. AND THE WAY THIS CAMERA CAPTURED 896 00:57:01,868 --> 00:57:05,671 HUMAN HOMES AND HUMAN INTEREST, I THOUGHT THAT PART WAS 897 00:57:05,671 --> 00:57:05,838 BRILLIANT. 898 00:57:05,838 --> 00:57:12,045 >> THEIR STORIES FOLLOWING THE BLUEPRINT OF MANY CLASSICS OVER 899 00:57:12,045 --> 00:57:13,813 THE YEARS. SW 900 00:57:13,813 --> 00:57:16,582 >> WHO HE IS? 901 00:57:16,582 --> 00:57:26,526 >> LAWRENCE ARABIA CONSIDERED A 902 00:57:26,526 --> 00:57:28,227 SIN SE CINEMATIC MASTERPIECE. 903 00:57:28,227 --> 00:57:33,566 >> THERE ARE MOMENTS IN IT THAT ARE OFFENSIVE. 904 00:57:33,566 --> 00:57:39,906 FOR ME, THOSE MOMENTS DO NOT NEGATE THE POWER OF THE MOVIE. 905 00:57:39,906 --> 00:57:41,841 >> I DEMAND IT OF YOU. 906 00:57:41,841 --> 00:57:50,016 >> AND THERE'S "CLEOPATRA" IN 907 00:57:50,016 --> 00:57:56,789 1963, WINNER OF FOUR ACADEMY 908 00:57:56,789 --> 00:57:58,558 AWARDS. 909 00:57:58,558 --> 00:58:04,964 >> "AMADAYUS" IN 1984, STILL A 910 00:58:04,964 --> 00:58:07,867 GOLD STANDARD OF CINEMA. 911 00:58:07,867 --> 00:58:11,838 >> YOU ARE NOT AN AMERICAN. WE DIDN'T LAND ON PLYMOUTH ROCK, 912 00:58:11,838 --> 00:58:14,073 PLYMOUTH ROCK LANDED ON US. 913 00:58:14,073 --> 00:58:21,681 >> IT WAS SPIKE LEE'S MALCOLM X BIOPIC THAT EARNED DENZEL 914 00:58:21,681 --> 00:58:23,749 WASHINGTON A BEST ACTOR NOD. 915 00:58:23,749 --> 00:58:28,955 >> HE REALLY FOCUSED ON THE EVOLUTION OF MALCOLM X'S 916 00:58:28,955 --> 00:58:34,760 IDEOLOGY. THAT IS SO DIFFICULT TO PORTRAYA 917 00:58:34,760 --> 00:58:37,196 MOVIE, IS THE EVOLUTION OF IDEALOLOGY. 918 00:58:37,196 --> 00:58:39,899 ♪ 919 00:58:39,899 --> 00:58:46,139 >> AND WHO WOULD FORGET "BOHEMIAN RHAPSODY" THAT 920 00:58:46,139 --> 00:58:49,909 PORTRAYAL OF FREDDIE MERCURY'S LIFE, GROSSING OVER $900 921 00:58:49,909 --> 00:58:55,715 MILLION, MAKING IT THE MOST SUCCESSFUL MUSIC BIOPIC OF ALL 922 00:58:55,715 --> 00:58:58,818 TIME, AND EARNING SOME FOUR ACADEMY AWARDS. 923 00:58:58,818 --> 00:59:04,090 HISTORY LESSONS, CELEBRATING AND REFLECTING ON THE UNIMAGINABLE. 924 00:59:04,090 --> 00:59:08,694 THIS YEAR, THE BIOPICS COULD ONCE AGAIN TAKE CENTER STAGE AT 925 00:59:08,694 --> 00:59:11,030 THE OSCARS, REMINDING HOLLYWOOD THERE'S STILL MANY GREAT STORIES 926 00:59:11,030 --> 00:59:16,736 TO BE TOLD. 927 00:59:16,736 --> 00:59:20,373 AGAIN, THE TRUE BIOPIC CAN SERVE A GREAT PURPOSE. 928 00:59:20,373 --> 00:59:24,143 BUT IT'S THOSE FILMS THAT TAKE LIBERTY WITH THE STORIES THEY 929 00:59:24,143 --> 00:59:27,079 TELL THAT POSE THE RISK OF TAINTING HISTORY. 930 00:59:27,079 --> 00:59:28,047 BACK TO YOU GUYS. 931 00:59:28,047 --> 00:59:32,919 >> KELLY, THANKS SO MUCH. THE SUCCESS OF THIS YEAR'S HIT 932 00:59:32,919 --> 00:59:36,055 FILM "ELVIS" HAS CATAPULTED AUSTIN BUTLER TO A NEW LEVEL OF 933 00:59:36,055 --> 00:59:39,859 FAME IN HOLLYWOOD. MANY PREDICT THE 31-YEAR-OLD 934 00:59:39,859 --> 00:59:42,828 FIRST-TIME NOMINEE WILL WALK AWAY WITH THE OSCAR TONIGHT. 935 00:59:42,828 --> 00:59:47,867 IT'S BEEN CERTAINLY A TRIUMPHANT AND E MOTIONALLY BROUGHT AWARD 936 00:59:47,867 --> 00:59:52,071 SEASON FOR THE ACTOR. HERE NOW IS CHRIS CONLEY. 937 00:59:52,071 --> 01:00:05,084 ♪ 938 01:00:05,084 --> 01:00:09,755 >> WHEN YOU THINK OF ALL THAT WORK YOU PUT IN, ALL THOSE HOURS 939 01:00:09,755 --> 01:00:13,793 DURING COVID YOU WERE JUST STARING AT YOUR WALLS, WHERE YOU 940 01:00:13,793 --> 01:00:17,063 HAD PUT UP AN ENTIRE LIFE OF ELVIS PRESLEY AROUND YOU? 941 01:00:17,063 --> 01:00:21,067 >> YEAH, THAT'S -- I THINK BACK TO THAT TIME, WHICH -- THAT WAS 942 01:00:21,067 --> 01:00:25,104 THE SIX MONTHS THAT WE SHUT DOWN FOR COVID, AND WE DIDN'T KNOW IF 943 01:00:25,104 --> 01:00:29,875 THE FILM WAS GOING TO COME BACK. I STAYED IN AUSTRALIA AND PASTED 944 01:00:29,875 --> 01:00:34,046 ALL THE IMAGES I HAD OF ELVIS AROUND THE WALLS, FROM JUST 945 01:00:34,046 --> 01:00:38,317 FLOOR TO CEILING, A DETECTIVE SCENE, YOU KNOW? 946 01:00:38,317 --> 01:00:42,922 >> YOU ARE THE BEST PERSON I COULD EVER HOPE TO WORK FOR. 947 01:00:42,922 --> 01:00:46,192 THIS IS SOMETHING I AIN'T NEVER SAID TO NOBODY BEFORE, BUT I 948 01:00:46,192 --> 01:00:48,961 BELIEVE I CAN BE GREAT TOO. 949 01:00:48,961 --> 01:00:53,032 >> OUR CINEMATOGRAPHER, I'M JUST SO PROUD AND HAPPY FOR HER. 950 01:00:53,032 --> 01:00:59,839 SHE'S ONE OF THREE FEMALE DPs IN 90 WHATEVER YEARS THAT HAS BEEN 951 01:00:59,839 --> 01:01:02,008 NOMINATED. AND SHE FIGURED OUT THE SPECIAL 952 01:01:02,008 --> 01:01:06,946 ANGLES THAT FLATTERED YOUR FACE, THAT KNEW IT WAS JUST RIGHT. 953 01:01:06,946 --> 01:01:12,218 >> SHE WAS THERE FROM DAY ONE, WHEN I FIRST STARTED WORKING 954 01:01:12,218 --> 01:01:15,087 WITH BAZ. I NEVER HAD THAT EXPERIENCE WITH 955 01:01:15,087 --> 01:01:18,357 A CINEMATOGRAPHER BEFORE, WHERE YOU ARE DEVELOPING LANGUAGE AS 956 01:01:18,357 --> 01:01:20,960 YOU ARE PREPARING TOGETHER. 957 01:01:20,960 --> 01:01:26,165 >> WE SAT TOGETHER, YOU AND ME, AND LISA MARIE IN THE JUNGLE 958 01:01:26,165 --> 01:01:27,066 ROOM AT GRACELAND. 959 01:01:27,066 --> 01:01:27,867 >> YEAH. 960 01:01:27,867 --> 01:01:31,137 >> AND SHE TALKED ABOUT HER AFFECTION FOR YOU. 961 01:01:31,137 --> 01:01:35,808 >> MY CHILDREN AND I JUST FELL IMMEDIATELY IN LOVE WITH HIM. 962 01:01:35,808 --> 01:01:39,145 AND PROTECTIVE OF HIM. I FEEL SO PROTECTIVE OF HIM. 963 01:01:39,145 --> 01:01:46,986 AND I THINK RILEY DOES, TOO. BUT WE JUST LOVE YOU, AND WE 964 01:01:46,986 --> 01:01:49,822 FEEL THIS LOVE AND THERE'S JUST SO MUCH LOVE. 965 01:01:49,822 --> 01:01:52,124 IT WAS VERY -- IT'S A LOT. IT'S A LOT. 966 01:01:52,124 --> 01:01:54,593 HE'S DONE SUCH AN INCREDIBLE JOB THAT WE FEEL SO CONNECTED TO 967 01:01:54,593 --> 01:02:00,900 HIM. SWEET THING. HE'S SUCH A SWEET HEART. 968 01:02:00,900 --> 01:02:05,071 >> WHAT DID THAT MEAN TO YOU, TO HAVE THOSE FEELINGS FROM HER? 969 01:02:05,071 --> 01:02:10,910 >> IT'S SO HARD TO PUT INTO WORDS, BECAUSE I HAD JUST MET 970 01:02:10,910 --> 01:02:13,045 HER THE DAY BEFORE WE DID THAT INTERVIEW TOGETHER. 971 01:02:13,045 --> 01:02:16,148 BUT I HAD SO MUCH TIME OF TRYING TO UNDERSTAND HER FATHER, TRYING 972 01:02:16,148 --> 01:02:19,051 TO BE INSIDE HIS MIND AS MUCH AS I COULD. 973 01:02:19,051 --> 01:02:23,956 AND THEN YOU ADD IN THE WHOLE LAYER OF EVERYTHING THAT'S GONE 974 01:02:23,956 --> 01:02:29,929 ON IN EITHER ONE OF OUR LIVES THAT, YOU KNOW, LOSSES, AND THE 975 01:02:29,929 --> 01:02:31,030 LOSS OF HER SON. 976 01:02:31,030 --> 01:02:32,298 >> THE LOSS OF YOUR MOTHER. 977 01:02:32,298 --> 01:02:34,033 >> YEAH. 978 01:02:34,033 --> 01:02:36,969 >> IT WAS AS IF THE TWO OF YOU WERE HEALING SOMETHING BY 979 01:02:36,969 --> 01:02:37,136 CONNECTING. 980 01:02:37,136 --> 01:02:40,039 >> YEAH. WE SPENT A LOT OF TIME UPSTAIRS 981 01:02:40,039 --> 01:02:44,043 TOGETHER. 982 01:02:44,043 --> 01:02:51,183 SHE SHOWED ME MANY THINGS, HIS BOOKS, ALL THESE SPIRITUAL BOOKS. 983 01:02:51,183 --> 01:02:53,219 >> WAS THERE A GUITAR INVOLVED? 984 01:02:53,219 --> 01:02:57,123 >> YEAH, THERE WAS A GUITAR JUST LAYING ON THE CARPET ON THE 985 01:02:57,123 --> 01:03:00,192 FLOOR. I GOT TO PLAY THAT IN THE JUNGLE 986 01:03:00,192 --> 01:03:02,228 ROOM. AND THAT WAS -- THAT WAS -- IT 987 01:03:02,228 --> 01:03:09,034 WAS NOT ONLY THE GUITAR THAT HE HAD FROM THE '50s THAT HE USED 988 01:03:09,034 --> 01:03:12,271 AND ALL THOSE EARLY FILMS OF HIS. 989 01:03:12,271 --> 01:03:19,345 >> FROM NOW ON, KID, YOU'RE NOT BORROWING MY AX. HEY, SUZY. 990 01:03:19,345 --> 01:03:25,117 >> THAT'S FOR YOU FROM TEX. 991 01:03:25,117 --> 01:03:28,320 >> FROM HERE ON IN, YOU'RE BUSTING YOUR OWN STRINGS. 992 01:03:28,320 --> 01:03:32,258 >> AND THAT'S THE SAME GUITAR HE PLAYS IN THE '70s, AS WELL. 993 01:03:32,258 --> 01:03:37,263 WHEN YOU WATCH "THAT'S THE WAY IT IS" AND YOU SEE HIM ON STAGE 994 01:03:37,263 --> 01:03:42,268 IN VEGAS, THAT'S THE SAME GUITAR HE WAS PLAYING SINCE THE '50s. 995 01:03:42,268 --> 01:03:45,438 ♪ 996 01:03:45,438 --> 01:03:51,377 >> IS YOUR LAST MEMORY OF LISA MARIE THAT NIGHT OF CELEBRATION 997 01:03:51,377 --> 01:03:52,378 AT THE GOLDEN GLOBES? 998 01:03:52,378 --> 01:03:56,315 >> YEAH, THAT'S THE LAST TIME WE SAW EACH OTHER. 999 01:03:56,315 --> 01:03:58,918 >> I'M JUST SO GRATEFUL RIGHT NOW. 1000 01:03:58,918 --> 01:04:02,154 >> WHAT DO YOU REMEMBER ABOUT THAT NIGHT THAT BRINGS A SMILE 1001 01:04:02,154 --> 01:04:03,222 TO YOUR FACE? 1002 01:04:03,222 --> 01:04:07,226 >> BEING ON STAGE AND GETTING TO LOOK DOWN INTO HER EYES. 1003 01:04:07,226 --> 01:04:10,296 >> LISA MARIE, PRISCILLA, I LOVE YOU FOREVER. 1004 01:04:10,296 --> 01:04:12,965 [ APPLAUSE ] 1005 01:04:12,965 --> 01:04:16,202 THERE'S MANY MEMORIES FROM THAT NIGHT THAT MAKE ME SMILE. 1006 01:04:16,202 --> 01:04:18,304 >> YOU BROUGHT HER GREAT JOY. 1007 01:04:18,304 --> 01:04:20,172 >> I HOPE SO. 1008 01:04:20,172 --> 01:04:23,442 >> WOW. IT IS AMAZING TO SEE JUST HOW 1009 01:04:23,442 --> 01:04:26,145 COMPOSED AUSTIN BUTLER HAS BEEN THROUGHOUT EVERYTHING THAT'S 1010 01:04:26,145 --> 01:04:30,249 HAPPENED IN RECENT MONTHS. THAT MOMENT WITH LISA MARIE ON 1011 01:04:30,249 --> 01:04:33,419 THE COUCH, JUST INCREDIBLY POWERFUL. JUST 31 YEARS OLD. 1012 01:04:33,419 --> 01:04:35,254 THE BIGGEST NIGHT OF HIS LIFE. 1013 01:04:35,254 --> 01:04:36,589 >> YOU CAN IMAGINE THAT VERY EASILY. 1014 01:04:36,589 --> 01:04:39,158 I KNOW A LOT OF PEOPLE ARE ROOTING FOR HIM. 1015 01:04:39,158 --> 01:04:43,229 WHICH LEAD ACTRESS ARE YOU ROOTING FOR TO TAKE HOME AN 1016 01:04:43,229 --> 01:04:46,298 OSCAR TONIGHT? A LOOK AT ALL FIVE PERFORMANCES 1017 01:04:59,378 --> 01:05:00,246 ♪ 1018 01:05:00,246 --> 01:05:09,255 ♪ EVERYTHING WILL BE OKAY 1019 01:05:09,255 --> 01:05:13,125 ♪ 1020 01:05:13,125 --> 01:05:18,097 >> YOU KNOW THAT IS MY JAM RIGHT THERE. 1021 01:05:18,097 --> 01:05:22,167 I WAS FIST PUMPING OFF CAMERA. THAT IS LADY GAGA'S OSCAR 1022 01:05:22,167 --> 01:05:24,370 NOMINATED SONG "HOLD MY HAND" FROM "TOP GUN: MAVERICK." 1023 01:05:24,370 --> 01:05:26,472 AND WE ARE SHOWING YOU THAT RIGHT NOW, BECAUSE WE ARE 1024 01:05:26,472 --> 01:05:28,474 GETTING SOME BREAKING NEWS AS WE SPEAK. 1025 01:05:28,474 --> 01:05:32,378 >> WE ARE JUST LEARNING THAT LADY GAGA IS IN THE BUILDING. 1026 01:05:32,378 --> 01:05:35,514 SHE'S GOING TO BE PERFORMING ON THE OSCAR STAGE TONIGHT. 1027 01:05:35,514 --> 01:05:39,018 >> AND WE KNOW RIHANNA'S GOING TO PERFORM. 1028 01:05:39,018 --> 01:05:41,287 "NAATU NAATU" IS HAPPENIG. SO VERY EXCITING STUFF, THAT 1029 01:05:41,287 --> 01:05:45,090 BREAKING NEWS RIGHT HERE FROM THE CHAMPAGNE CARPET. 1030 01:05:45,090 --> 01:05:47,693 WE TURN NOW TO SOME TALENTED ACTRESSES. 1031 01:05:47,693 --> 01:05:51,530 OF THE FIVE WOMEN NOMINATED FOR BEST ACTRESS TONIGHT, THREE ARE 1032 01:05:51,530 --> 01:05:55,301 FIRST-TIME NOMINEES. ONE OF THOSE, MICHELLE YEOH, 1033 01:05:55,301 --> 01:05:59,505 MAKES HISTORY AS THE FIRST SOUTHEAST ASIAN WOMAN TO BE 1034 01:05:59,505 --> 01:06:01,473 NOMINATED IN THE LEAD ACTRESS TERRITORY. 1035 01:06:01,473 --> 01:06:05,477 >> MANY ARE PREDICTING SHE WILL WIN BUT FACES TOUGH COMPETITION. 1036 01:06:05,477 --> 01:06:10,316 HERE IS A REMINDER OF WHO IS COMPETING FOR THE OSCAR IN THIS 1037 01:06:10,316 --> 01:06:15,354 CATEGORY. 1038 01:06:15,354 --> 01:06:24,229 ♪ 1039 01:06:24,229 --> 01:06:25,464 >> THERE'S SOMETHING I'VE GOT TO 1040 01:06:25,464 --> 01:06:32,438 TELL YOU. 1041 01:06:32,438 --> 01:06:36,241 ♪ 1042 01:06:36,241 --> 01:06:42,348 >> THE THINGS THEY MAKE UP. I KNOW YOU'RE SUPPOSED TO GET 1043 01:06:42,348 --> 01:06:51,290 USED TO IT, BUT I JUST CAN'T. 1044 01:06:51,290 --> 01:06:57,396 >> I LOST EVERYTHING. I FILED FOR BANS KRUPTCY. 1045 01:06:57,396 --> 01:06:59,365 SO YEAH, I LEFT HIM. 1046 01:06:59,365 --> 01:07:00,132 ♪ 1047 01:07:00,132 --> 01:07:02,501 >> YOU KNOW THE ONE WITH THE 1048 01:07:02,501 --> 01:07:08,340 CHEF, AND HE MAKES BAD FOOD. 1049 01:07:08,340 --> 01:07:14,413 AND THEN YOU CONTROL HIM AND HE COOKS GOOD FOOD. 1050 01:07:14,413 --> 01:07:20,285 ♪ 1051 01:07:20,285 --> 01:07:26,258 >> WANT TO DANCE, YOU HAVE TO SUBMY 1052 01:07:26,258 --> 01:07:34,433 SUBLIMATE YOURSELF, YOUR EGO. 1053 01:07:34,433 --> 01:07:35,367 ALL RIGHT. 1054 01:07:35,367 --> 01:07:37,503 >> SO MANY GREAT PERFORMANCES THERE. 1055 01:07:37,503 --> 01:07:42,307 I HAD THE OPPORTUNITY TO SIT DOWN WITH ONE OF THOSE TALENTED 1056 01:07:42,307 --> 01:07:47,613 NOMINEES, MICHELLE WILLIAMS. THIS IS HER FIFTH OSCAR 1057 01:07:47,613 --> 01:07:52,384 NOMINATION, HONORED FOR PLAYING STEVEN SPIELBERG'S REAL-LIFE 1058 01:07:52,384 --> 01:07:55,554 MOTHER IN "THE FABELMANS." 1059 01:07:55,554 --> 01:08:00,659 >> THERE'S SOMETHING I'VE GOT TO TELL YOU. 1060 01:08:00,659 --> 01:08:03,629 HE LOOKS LIKE ME THAT SOMEBODY 1061 01:08:03,629 --> 01:08:09,468 COULD BE WRONG -- 1062 01:08:09,468 --> 01:08:13,706 COULD YOU CLIMB ON THE ROOF TO ADJUST THE ANTENNA SO I CAN 1063 01:08:13,706 --> 01:08:18,577 WATCH CHANNEL? AND HE DOES. 1064 01:08:18,577 --> 01:08:21,380 >> IS THERE STILL THE SAME EXCITEMENT EACH TIME? 1065 01:08:21,380 --> 01:08:22,548 >> MAYBE A LITTLE MORE. 1066 01:08:22,548 --> 01:08:23,382 >> HOW SO? 1067 01:08:23,382 --> 01:08:27,653 >> IT'S NOT EASY TO GET HERE. AND TO SEE PEOPLE THAT YOU KNOW, 1068 01:08:27,653 --> 01:08:30,556 THAT YOU HAVE WORKED WITH BEFORE AND TO SEAL LIKE THINGS ARE 1069 01:08:30,556 --> 01:08:33,192 RETURNING. THERE'S THE COMMUNITIES THAT YOU 1070 01:08:33,192 --> 01:08:36,628 BUILD WHEN YOU MAKE A MOVIE, AND THEN THERE'S THE LARGER 1071 01:08:36,628 --> 01:08:40,532 COMMUNITY. IT'S JUST SO NICE TO BE UNITED 1072 01:08:40,532 --> 01:08:41,033 WITH PEOPLE AND BROUGHT BACK TOGETHER. 1073 01:08:41,033 --> 01:08:48,273 >> TELL ME ABOUT THE PRESSURE. I'M ASSUMING TO PLAY STEVEN 1074 01:08:48,273 --> 01:08:50,542 SPIELBERG'S MOM. HE OPENED UP THE VAULT FOR YOU, 1075 01:08:50,542 --> 01:08:53,679 WAS SHOWING YOU HOME VIDEOS AND PICTURES. 1076 01:08:53,679 --> 01:08:58,283 WHAT DID THAT FEEL LIKE TO REALLY MAKE THIS ROLE SAFE? 1077 01:08:58,283 --> 01:09:01,653 >> IT FELT LIKE PRESSURE FOR A SECOND, UNTIL YOU REALIZE HE 1078 01:09:01,653 --> 01:09:05,524 LOVED HIS MOM. HE'S MAKING THIS TO HONOR BOTH 1079 01:09:05,524 --> 01:09:09,394 OF HIS PARENTS, AND HE HANDS YOU THE THIS WAS, HE'S JUST OPEN 1080 01:09:09,394 --> 01:09:12,364 LIKE THIS. IT'S JUST POURING OUT OF HIM. 1081 01:09:12,364 --> 01:09:16,668 AND IT VERY QUICKLY GOES FROM FEELING LIKE OH, GOSH, HOW AM I 1082 01:09:16,668 --> 01:09:21,740 GOING TO DO THIS, TO FEELING EXCITED AND INSPIRED AND PART OF 1083 01:09:21,740 --> 01:09:26,345 HIS FAMILY. SO I THOUGHT I WOULD BE A LOT 1084 01:09:26,345 --> 01:09:28,580 MORE NERVOUS THAN I WAS. I WAS REALLY JUST EXCITED TO GO 1085 01:09:28,580 --> 01:09:33,318 TO WORK AND EXCITED TO MAKE HIS MOM COME BACK TO LIFE. 1086 01:09:33,318 --> 01:09:39,391 >> HOW DID YOU CHANNEL YOUR OWN MOTHERING INTO THE ROLE OF MISSY? 1087 01:09:39,391 --> 01:09:41,560 >> I THOUGHT SO MUCH ABOUT WHO WAS THE MOTHER THAT MADE THESE 1088 01:09:41,560 --> 01:09:45,664 CHILDREN, THAT RAISED THESE CHILDREN, THAT WENT OFF AND 1089 01:09:45,664 --> 01:09:50,469 LIVED THEIR INDIVIDUAL, EXPRESSIVE, FULL ADULT LIVES? 1090 01:09:50,469 --> 01:09:53,605 THAT'S A HUGE ACCOMPLISHMENT. WHO WAS SHE? 1091 01:09:53,605 --> 01:09:56,742 WHY ARE THEY STILL SO ENAMORED WITH HER? 1092 01:09:56,742 --> 01:10:01,313 I THINK IT WAS SO MUCH ABOUT THEIR CHILDHOOD, HER ACCEPTANCE 1093 01:10:01,313 --> 01:10:03,448 OF THEM, THE ATTENTION SHE GAVE TO THEM. 1094 01:10:03,448 --> 01:10:06,518 I REALLY THINK SHE MAKES A BOLD CHOICE IN THE FILM. 1095 01:10:06,518 --> 01:10:13,358 SHE MAKES A DECISION FOR HERSELF. WHAT I THINK SHE DID IN THAT 1096 01:10:13,358 --> 01:10:16,495 MOMENT TROULY, WAS THAT BY ALIGNING HERSELF WITH HER 1097 01:10:16,495 --> 01:10:21,366 PASSION AND DESIRE AND CHOOSING TO LIVE SO BOLDLY, SO HONESTLY, 1098 01:10:21,366 --> 01:10:25,437 I THINK SHE GAVE HER CHILDREN THE SAME ABILITY AS ADULTS. 1099 01:10:25,437 --> 01:10:29,641 >> SO BEAUTIFUL WHAT YOU MADE, DARLING. 1100 01:10:29,641 --> 01:10:32,477 >> I THINK THEY SAW THEIR MOM DO IT FIRST. 1101 01:10:32,477 --> 01:10:37,449 >> I'M CURIOUS HOW YOU WERE SO SUCCESSFUL AT CREATING THIS 1102 01:10:37,449 --> 01:10:39,618 EMPATHETIC CHARACTER? BECAUSE ON ITS FACE, WHEN WE 1103 01:10:39,618 --> 01:10:43,622 THINK OF OH, THIS MOM WAS HAVING AN AFFAIR, AND SHE CHOSE THAT 1104 01:10:43,622 --> 01:10:47,659 LIFE AS ONE OF THE DAUGHTERS SAYS, YOU'RE BEING SO SELFISH. 1105 01:10:47,659 --> 01:10:53,398 AND YET WE HAVE COMPASSION FOR HER, AND I THINK THAT HAS A LOT 1106 01:10:53,398 --> 01:11:00,806 TO DO WITH THE DEPTH THAT YOU POUR TRRTRAYED HER. 1107 01:11:00,806 --> 01:11:03,675 HOW DID YOU DO THAT SO SUCCESSFULLY? 1108 01:11:03,675 --> 01:11:06,411 >> THANK YOU. I DON'T THINK SHE WAS LIVING IN 1109 01:11:06,411 --> 01:11:07,379 TUNE WITH HERSELF. 1110 01:11:07,379 --> 01:11:11,717 >> THIS IS THE MOST SELFISH THING I HAVE EVER DONE, BUT I'VE 1111 01:11:11,717 --> 01:11:18,624 GOT TO DO THIS NOW, BECAUSE, SAMMY, YOU DO WHAT YOUR HEART 1112 01:11:18,624 --> 01:11:21,493 SAYS YOU HAVE TO. SO YOU DON'T OWE ANYONE YOUR 1113 01:11:21,493 --> 01:11:24,796 LIFE. NOT EVEN ME. 1114 01:11:24,796 --> 01:11:28,901 >> SHE WAS SO ALIGNED. SHE WAS AN ARTIST, A PIANO 1115 01:11:28,901 --> 01:11:34,573 PLAYER. HER SPIRIT WAS SO EXUBERANT AND 1116 01:11:34,573 --> 01:11:39,745 SO EX-WIQUISITELY TUNED. THEY ULTIMATELY KNEW SHE WAS 1117 01:11:39,745 --> 01:11:46,652 DOING WHAT SHE HAD TO DO. WHILE IT MAY BE PAINFUL IN THE 1118 01:11:46,652 --> 01:11:46,818 MOMENT. 1119 01:11:46,818 --> 01:11:51,623 >> YOU TALKED TO CONGRESS ABOUT PAY EQUITY, AND HOW PURPOSEFUL 1120 01:11:51,623 --> 01:11:53,759 AND MEANINGFUL THAT DAY WAS FOR YOU. 1121 01:11:53,759 --> 01:11:57,596 WHERE DO YOU THINK WE ARE RIGHT NOW WITH THAT IN HOLLYWOOD, AND 1122 01:11:57,596 --> 01:11:59,698 WHY WAS IT SO IMPORTANT FOR YOU TO SPEAK OUT? 1123 01:11:59,698 --> 01:12:02,501 >> I FELT LIKE I WAS BEING CALLED UPON. 1124 01:12:02,501 --> 01:12:05,570 I FELT LIKE I FOUND MYSELF IN THE MIDDLE OF THIS MOMENT AND I 1125 01:12:05,570 --> 01:12:12,544 BETTER LEARN TO SPEAK UP. AND I STEPPED INTO IT, AND IT 1126 01:12:12,544 --> 01:12:17,582 MAY BE THE THING I'M MOST PROUD OF PROFESSIONALLY. I SEE A SHIFT. 1127 01:12:17,582 --> 01:12:20,485 I SEE A SHIFT BECAUSE I HEAR THERE'S A SHIFT. 1128 01:12:20,485 --> 01:12:24,856 PEOPLE COME UP TO ME, MEN, WOMEN, MEN WHO OWN BUSINESSES 1129 01:12:24,856 --> 01:12:28,527 AND SAY I REALIZED SOMETHING AND I DIDN'T KNOW IT UNTIL I HEARD 1130 01:12:28,527 --> 01:12:30,762 YOUR EXAMPLE. THAT'S WHEN I FEEL LIKE CHANGE 1131 01:12:30,762 --> 01:12:32,631 IS HAPPENING. 1132 01:12:32,631 --> 01:12:37,703 >> THE FIRST MOVIE THAT YOU SAW THAT IMPACTED YOU? 1133 01:12:37,703 --> 01:12:40,672 >> "EMPIRE." 1134 01:12:40,672 --> 01:12:44,543 >> PERSON YOU'RE MOST LOOKING FORWARD TO BUMPING INTO ON THE 1135 01:12:44,543 --> 01:12:44,710 RED CARPET? 1136 01:12:44,710 --> 01:12:51,450 >> PEOPLE I MADE THE MOVIE WITH. WE ALL LOVED EACH OTHER SO MUCH. 1137 01:12:51,450 --> 01:12:54,920 >> SUCH A GREAT CONVERSATION, AND SHE WENT THERE TALKING ABOUT 1138 01:12:54,920 --> 01:12:58,690 PAY EQUITY, AS WELL. SO WILL MICHELLE WILLIAMS SNAG 1139 01:12:58,690 --> 01:13:04,730 AN OSCAR ON HER FIFTH TRY? JOINING US AGAIN TO HANDICAP THE 1140 01:13:04,730 --> 01:13:07,933 RACE, ELIZABETH AND CLAYTON. CLAYTON, WE'LL START WITH YOU. 1141 01:13:07,933 --> 01:13:10,936 WHO WILL WIN, WHO SHOULD WIN, AND POSSIBLE SURPRISE PICK. 1142 01:13:10,936 --> 01:13:15,874 >> LISTEN, THIS IS A TIGHT RACE BETWEEN CATE BLANCHETT AND OUR 1143 01:13:15,874 --> 01:13:20,846 FIRST-TIME NOMINEE MICHELLE YEOH WHO, AT 60, IS FINALLY GETTING 1144 01:13:20,846 --> 01:13:23,915 HER DUE. IT LOOKS LIKE SHE'S GOING TO 1145 01:13:23,915 --> 01:13:30,922 MAKE HISTORY. IT'S MICHELLE YEOH, ALL DAY, 1146 01:13:30,922 --> 01:13:32,991 EVERY DAY. 1147 01:13:32,991 --> 01:13:33,225 >> DO YOU AGREE? 1148 01:13:33,225 --> 01:13:39,931 >> I DO AGREE THAT MICHELLE YEOH SHOULD WIN, BUT WHEN YOU'RE IN A 1149 01:13:39,931 --> 01:13:43,035 RACE WITH CATE BLANCHETT, NOBODY IS SAFE. 1150 01:13:43,035 --> 01:13:47,672 BUT MICHELLE YEOH, REALLY HISTORY MAKING, SUCH A GREAT, 1151 01:13:47,672 --> 01:13:50,809 UNIQUE PERFORMANCE. AND IT'S CRAZY THAT SHE'S NEVER 1152 01:13:50,809 --> 01:13:54,579 BEEN NOMINATED BEFORE. I THINK SHE WILL BE ONE OF MANY 1153 01:13:54,579 --> 01:13:57,115 FROM THE TEAM OF "EVERYTHING EVERYWHERE ALL AT ONCE" THAT 1154 01:13:57,115 --> 01:13:57,916 WILL SWEEP TONIGHT. 1155 01:13:57,916 --> 01:13:59,818 >> AND SURPRISE PICKS? 1156 01:13:59,818 --> 01:14:02,587 >> ANYTHING OUTSIDE OF THOSE TWO WOULD BE A SHOCKER. 1157 01:14:02,587 --> 01:14:04,756 I THINK IT'S ONE OF THOSE TWO FOR SURE. 1158 01:14:04,756 --> 01:14:08,593 AND CATE BLANCHETT WILL ONLY BE THE THIRD PERSON TO WIN THREE 1159 01:14:08,593 --> 01:14:08,727 OSCARS. 1160 01:14:08,727 --> 01:14:11,797 >> AND DO IT IN JUST 18 YEARS, THE FASTEST. 1161 01:14:11,797 --> 01:14:13,899 >> WE'LL CHAT WITH YOU MORE LATER ON. 1162 01:14:13,899 --> 01:14:18,870 WE HAVE A LOT MORE COMING UP ON OUR COUNTDOWN TO THE 95th ANNUAL 1163 01:14:18,870 --> 01:14:20,705 ACADEMY AWARDS. WHEN WE RETURN, WE'LL SHOW YOU 1164 01:14:20,705 --> 01:14:24,609 SOME OF THE EARLIEST ROLES TONIGHT'S BEST SUPPORTING ACTORS 1165 01:14:24,609 --> 01:14:25,911 TOOK WHEN STARTING OUT. 1166 01:14:25,911 --> 01:14:33,685 >> AND CAN YOU GUESS WHICH ACTOR GAVE A HAUNTING PERFORMANCE AS 1167 01:14:33,685 --> 01:14:34,719 COUNT DRACULA? THE ANSWER COMING UP. 1168 01:14:45,864 --> 01:14:49,835 ♪ 1169 01:14:49,835 --> 01:14:52,904 >>> BE PATIENT. THERE'S A LOT WITH WHAT WE DO. 1170 01:14:52,904 --> 01:14:55,774 THAT'S A LOT OF TRAINING AND WORK THAT GOES INTO IT. 1171 01:14:55,774 --> 01:15:00,745 BUT IT'S SO SATISFYING. EACH SET THAT YOU BUILD, IT'S UP 1172 01:15:00,745 --> 01:15:03,715 FOR A WEEK, A DAY, AND THEN IT'S GONE. 1173 01:15:03,715 --> 01:15:07,152 IT'S THERE, IT'S PHOTOGRAPHED, ON FILM FOREVER. 1174 01:15:07,152 --> 01:15:12,858 AND IT'S ONE OF THE MOST SATISFYING THINGS. 1175 01:15:12,858 --> 01:15:17,996 >> WE WERE CERTAINLY HONORED TO SIT DOWN WITH MANY OF THOSE 1176 01:15:17,996 --> 01:15:19,297 TECHNICIANS AT THE OSCARS LUNCHEON. 1177 01:15:19,297 --> 01:15:21,900 >> YEP. AND THROUGH THE YEARS, THE 1178 01:15:21,900 --> 01:15:24,970 ACADEMY HAS BEEN STEADFAST IN HONORING AS MANY OF THE CRAFTS 1179 01:15:24,970 --> 01:15:28,240 AWARDS ON THE MAIN OSCARS BROAD CAST EVERY YEAR, AND TONIGHT 1180 01:15:28,240 --> 01:15:32,043 WILL BE NO DIFFERENT. 1181 01:15:32,043 --> 01:15:37,983 >> FOR NOW, WE ARE GOING TO TURN 1182 01:15:37,983 --> 01:15:42,621 TO THE BEST SUPPORTING ACTOR. 1183 01:15:42,621 --> 01:15:46,191 >> THEY CAN ALL RELATE TO THE FEELING OF TRYING TO GET NOTICED 1184 01:15:46,191 --> 01:15:51,863 EARLY IN THEIR CAREERS. FOR SOME, LIKE KE HUY QUAN, A 1185 01:15:51,863 --> 01:15:57,068 SUCCESSFUL ADULT CAREER DID NOT COME EASY AFTER SUCCESS AS A 1186 01:15:57,068 --> 01:16:03,675 CHILD ACTOR. 1187 01:16:03,675 --> 01:16:06,745 AL HERE IS A LOOK AT THE BEST SUPPORTING ACTORS. 1188 01:16:06,745 --> 01:16:09,114 >> WERE YOU NOT PAYING ATTENTION BEFORE? 1189 01:16:09,114 --> 01:16:12,918 >> OF COURSE. YOU'RE JUST VERY BAD AT IT. 1190 01:16:12,918 --> 01:16:16,922 >> KE HUY QUAN HAS BEEN LIVING A CINDERELLA STORY THIS AWARDS 1191 01:16:16,922 --> 01:16:20,158 SEASON, WITH THE CLAIM FOR HIS PORTRAYAL IN "EVERYTHING 1192 01:16:20,158 --> 01:16:22,160 EVERYWHERE ALL AT ONCE." 1193 01:16:22,160 --> 01:16:26,131 >> I'M NOT THE WANG WHO WANTS TO DIVORCE YOU, I'M THE WANG SAVING 1194 01:16:26,131 --> 01:16:28,700 YOUR LIFE. YOU CAN EITHER COME UP TO ME AND 1195 01:16:28,700 --> 01:16:31,937 LIVE UP TO YOUR POTENTIAL OR STAY HERE AND LIVE WITH THE 1196 01:16:31,937 --> 01:16:35,173 CONSEQUENCES. 1197 01:16:35,173 --> 01:16:39,144 >> PUT ME DOWN! 1198 01:16:39,144 --> 01:16:43,081 >> HE WASN'T EVEN A TEENAGER WHEN STEVEN SPIELBERG CAST HIM 1199 01:16:43,081 --> 01:16:45,850 IN HIS FIRST ROLE EVER AS SHORT ROUND. 1200 01:16:45,850 --> 01:16:50,855 >> SHORT ROUND, STEP ON IT! 1201 01:16:50,855 --> 01:16:55,894 >> OHOKIE DOAKY. 1202 01:16:55,894 --> 01:17:00,098 >> IN INDIANA JONES AND THE TEMPLE OF DOOM" IN 1984. 1203 01:17:00,098 --> 01:17:06,204 CONTINUING HIS ADVENTURING AS A CHILD ACTOR IN "THE GOONIES." 1204 01:17:06,204 --> 01:17:11,109 >> THEY'RE GONE, THEY'RE NOT HERE. AHHH! 1205 01:17:11,109 --> 01:17:14,946 >> HE'S A BRAINIAC TRYING TO FIT IN ON THE SMALL SCREEN IN "HEAD 1206 01:17:14,946 --> 01:17:18,049 OF THE CLASS." 1207 01:17:18,049 --> 01:17:21,152 >> TUSKIN AND COMPOSITE. 1208 01:17:21,152 --> 01:17:21,953 >> CORRECT. 1209 01:17:21,953 --> 01:17:24,823 >> I'M READY NOW. BRING THEM ON. 1210 01:17:24,823 --> 01:17:28,760 >> AND CROSSING PATHS WITH FELLOW NOMINEE BRENDAN FRASER IN 1211 01:17:28,760 --> 01:17:31,863 THE COMEDY "ENCINO MAN." 1212 01:17:31,863 --> 01:17:35,267 >> THE COMPUTER CLUB FEELS YOUR PRESENCE WILL BE A VALUABLE 1213 01:17:35,267 --> 01:17:36,968 ASSET TO OUR ORGANIZATION. 1214 01:17:36,968 --> 01:17:38,870 >> COMPUTER CLUB, COMPUTER CLUB. 1215 01:17:38,870 --> 01:17:40,071 >> OH, BOY. 1216 01:17:40,071 --> 01:17:46,811 >> WHO COULD END UP ON THAT OSCAR STAGE TONIGHT. 1217 01:17:46,811 --> 01:17:52,083 BARRY KEOGHAN IS NOMINATED FOR PLAYING A TROUBLED YOUNG MAN IN 1218 01:17:52,083 --> 01:17:52,417 "THE BANSHEES OF INISHERIN." 1219 01:17:52,417 --> 01:17:54,419 >> THERE'S SO MUCH WE HAVE IN COMMON. 1220 01:17:54,419 --> 01:17:56,955 JUST MAKES ME WANT TO ASK YOU EVEN MORE. 1221 01:17:56,955 --> 01:17:59,024 >> WE DON'T HAVE ANYTHING IN COMMON. 1222 01:17:59,024 --> 01:18:00,125 >> DON'T SKIP AHEAD. 1223 01:18:00,125 --> 01:18:03,862 >> ALSO, A CHILD ACTOR, MANY OF HIS ROLES WERE AS TROUBLED TEENS 1224 01:18:03,862 --> 01:18:09,167 LIKE THIS ONE ON THE IRISH CRIME SHOW "JACK TAYLOR." 1225 01:18:09,167 --> 01:18:15,206 >> WE KEEP STEALING THEM, SO WE'RE SORRY. 1226 01:18:15,206 --> 01:18:19,077 >> CONTEMPLATING ABOUT SCHOOL IN "STAY." 1227 01:18:19,077 --> 01:18:23,848 >> MOST OF THE STUFF YOU TEACH YOU WILL BE OUTDATED BY THE TIME 1228 01:18:23,848 --> 01:18:26,151 I LEAVE. IF IT'S REALLY THAT IMPORTANT, I 1229 01:18:26,151 --> 01:18:27,886 CAN ALWAYS JUST GOOGLE IT. 1230 01:18:27,886 --> 01:18:33,925 >> IN HIS ROLE IN "THE KILLING OF A SACRED DEER" ALSO STARRING 1231 01:18:33,925 --> 01:18:34,125 COLIN FARRELL. 1232 01:18:34,125 --> 01:18:38,296 >> IT'S JUST LIKE YOU THINK, YOU HAVE TO KILL A MEMBER OF YOUR 1233 01:18:38,296 --> 01:18:40,865 FAMILY TO BALANCE THINGS OUT. 1234 01:18:40,865 --> 01:18:45,036 >> AND DELIVERING PIECES IN "LIFE'S A BREEZE." 1235 01:18:45,036 --> 01:18:47,305 >> EXCUSE ME? IT'S A FAMILY MATTER, OKAY? 1236 01:18:47,305 --> 01:18:49,274 >> CAN YOU WAIT IN THE HALL, PLEASE? 1237 01:18:49,274 --> 01:18:52,043 >> YEAH, OKAY. SORRY. 1238 01:18:52,043 --> 01:18:56,314 >> COLIN FARRELL'S BEST FRIEND IN "THE BANSHEES OF INISHERIN," 1239 01:18:56,314 --> 01:19:00,885 BRENDAN GLEESON IS STRONG WILLED IN HIS RESOLVE TO PART WAYS. 1240 01:19:00,885 --> 01:19:06,124 >> PLEASE, DON'T TALK TO ME TO MORE. 1241 01:19:06,124 --> 01:19:09,260 >> IN "BRAVEHART" WITH MEL 1242 01:19:09,260 --> 01:19:15,100 GIBSON, HE'S JUST CRAZY STRONG. 1243 01:19:15,100 --> 01:19:19,971 BACK IN 1991, HE PLAYS THE IRISH REVOLUTIONARY MICHAEL COLLINS, 1244 01:19:19,971 --> 01:19:26,211 FIGHTING FOR INDEPENDENCE. 1245 01:19:26,211 --> 01:19:28,847 >> I MADE THEM FEAR FOR THEIR LIVES. 1246 01:19:28,847 --> 01:19:34,252 I ADMIT, I'M NO BRAIN SCIENTIST, BUT THERE'S NO WAY A CROCODILE 1247 01:19:34,252 --> 01:19:35,353 CAN BE IN MAINE. 1248 01:19:35,353 --> 01:19:41,192 >> BUT IT MAY HAVE TAKEN ALL HIS STRENGTH NOT TO LAUGH WHEN 1249 01:19:41,192 --> 01:19:46,331 PLAYING THIS SHERIFF, TRYING TO SAVE HIS COMMUNITY FROM A 1250 01:19:46,331 --> 01:19:53,104 VICIOUS REPTILE IN "LAKE PLACID." BRIAN TYREE HENRY IS NOMINATED 1251 01:19:53,104 --> 01:20:08,019 FOR HIS ROLE IN "CAUSEWAY." 1252 01:20:08,019 --> 01:20:12,357 PLAYING A SECURITY GUARD ON "LAW & ORDER." 1253 01:20:12,357 --> 01:20:15,393 >> LANDLORD PUT THEM UP THERE, MOSTLY FOR SHOW. 1254 01:20:15,393 --> 01:20:19,931 >> A MAN WRONGLY CAUSED OF MURDER IN "THE GOOD WIFE." 1255 01:20:19,931 --> 01:20:26,004 >> A YEAR AGO, I CAME HOME TO FIND MY WIFE STABBED, A WIFE I 1256 01:20:26,004 --> 01:20:26,137 LOVED. 1257 01:20:26,137 --> 01:20:30,141 >> AND HE'S A DEFENSE ATTORNEY ON "HOW TO GET AWAY WITH MURDER." 1258 01:20:30,141 --> 01:20:35,947 >> MY CLIENT HAS AGREED TO THIS RECORDING WHO WISHES TO SHOW 1259 01:20:35,947 --> 01:20:37,081 REMORSE PRIOR TO SENTENCING. 1260 01:20:37,081 --> 01:20:42,320 >> AND HERE HE IS AS THE GENERAL IN BREDWAY'S LONG-RUNNING HIT 1261 01:20:42,320 --> 01:20:47,292 SHOW "THE BOOK OF MORMON" FROM THE 2011 TONY AWARDS. 1262 01:20:47,292 --> 01:20:50,228 JUDD HIRSH IS NOMINATED FOR HIS ROLE IN STEVEN SPIELBERG'S "THE 1263 01:20:50,228 --> 01:20:52,030 FABELMANS." 1264 01:20:52,030 --> 01:20:55,133 >> HOLLYWOOD? 1265 01:20:55,133 --> 01:21:02,373 IT'S HAIMISH WITH DOUG LAS FAIRBANKS. SOY WENT. 1266 01:21:02,373 --> 01:21:08,179 >> RISING TO PROMINENCE FOR HIS ENDEARING PORTRAYAL OF ALEX 1267 01:21:08,179 --> 01:21:15,954 EAGER ON "TAXI" WHICH DEBUTED IN 1978. 1268 01:21:15,954 --> 01:21:21,025 HE'S A COP GUARDING AL PACINO IN A TINY ROLE IN ONE OF MISFIRST 1269 01:21:21,025 --> 01:21:28,266 FILMS, 1973'S "SERPICO." 1270 01:21:28,266 --> 01:21:34,472 IN "THE LEGEND OF VALENTINO," HE PLAYS A CASTING DIRECTOR. 1271 01:21:34,472 --> 01:21:39,410 >> THE WHOLE WORLD'S GONE CRAZY BECAUSE IT FOUND OUT PICTURES 1272 01:21:39,410 --> 01:21:41,479 CAN MOVE AND IT'S RAINING MONEY ALL OVER HOLLYWOOD. 1273 01:21:41,479 --> 01:21:44,082 GRAB A BUCKET. GET ALL YOU CAN. 1274 01:21:44,082 --> 01:21:48,086 >> BUT OUR GREATEST DISCOVERY IS POSSIBLY SOMETHING HE NEVER 1275 01:21:48,086 --> 01:21:48,453 WANTED ON EARTH. 1276 01:21:48,453 --> 01:21:49,320 >> COME ON. 1277 01:21:49,320 --> 01:21:54,125 >> YES, THAT'S JUDD HIRSH, STARRING AS THE DISCO LOVING 1278 01:21:54,125 --> 01:21:57,428 COUNT DRACULA IN THE HALLOWEEN THAT ALMOST WASN'T. 1279 01:21:57,428 --> 01:22:04,135 >> ONE OF THESE DAYS, I WISH I WAS DEAD AND STAY DEAD. 1280 01:22:04,135 --> 01:22:07,171 >> I'VE GOT TO SAY, ALL THE FASHION AND FAME AROUND US IS 1281 01:22:07,171 --> 01:22:09,274 FUN. BUT THIS IS ONE OF MY FAVORITE 1282 01:22:09,274 --> 01:22:14,078 PARTS, JUST SEEING HOW EVERYBODY GOT THERE, ESPECIALLY COUNT 1283 01:22:14,078 --> 01:22:14,245 DRACULA. 1284 01:22:14,245 --> 01:22:17,181 >>> COMING UP, WE LOOK AT THE POWER OF THE SEQUEL. 1285 01:22:17,181 --> 01:22:20,018 >> THESE ARE A COUPLE OF MY FAVORITES THIS SEASON, WHETHER 1286 01:22:20,018 --> 01:22:24,289 IT'S A RETURN TO THE SKIES WITH MAVERICK OR A JOURNEY INTO THE 1287 01:22:24,289 --> 01:22:28,092 WATER WITH AVATAR. WHY HOLLYWOOD IS REVISITING 1288 01:22:28,092 --> 01:22:30,194 FAMILIAR FACES AND PLACES. 1289 01:22:41,239 --> 01:22:44,375 >>> HEY, FOLKS, WE ARE BACK HERE IN HOLLYWOOD. 1290 01:22:44,375 --> 01:22:47,478 IN JUST A LITTLE WHILE, THIS CARPET WILL BE SHOULDER TO 1291 01:22:47,478 --> 01:22:52,317 SHOULDER WITH ALL THE NOMINEES THE RED CARPET IS ACTUALLY 1292 01:22:52,317 --> 01:22:56,254 CHAMPAGNE THIS YEAR. THE ACADEMY JUST FELT THE 1293 01:22:56,254 --> 01:22:59,490 COMBINATION OF A LIGHTER COLORED CARPET WITH THE RED DRAPES 1294 01:22:59,490 --> 01:22:59,691 LOOKED GOOD. 1295 01:22:59,691 --> 01:23:03,127 >> YEAH. SO WE'RE GOING TO TURN NOW TO A 1296 01:23:03,127 --> 01:23:05,597 TOPIC THAT'S PARAMOUNT FOR HOLLYWOOD SURVIVAL, SUCCESS AT 1297 01:23:05,597 --> 01:23:08,499 THE BOX OFFICE. HOLLYWOOD TOOK A BIG HIT DURING 1298 01:23:08,499 --> 01:23:13,338 THE PANDEMIC WITH SO MANY THEATERS CLOSING AND PRODUCTIONS 1299 01:23:13,338 --> 01:23:15,540 CANCELED OR DELAYED. BUT THIS YEAR, WE'RE SEEING THE 1300 01:23:15,540 --> 01:23:20,144 TRUE POWER OF A FILM INDUSTRY RECOVERING FROM THOSE SETBACKS. 1301 01:23:20,144 --> 01:23:24,482 RECORD BOX OFFICE NUMBERS IN 2022 HAVE PEOPLE FEELING BETTER 1302 01:23:24,482 --> 01:23:25,283 ABOUT 2023. 1303 01:23:25,283 --> 01:23:29,253 >> THIS YEAR'S BEST PICTURE NOMINEES HAVE GROSSED ABOUT $4 1304 01:23:29,253 --> 01:23:33,257 BILLION AT THE GLOBAL BOX OFFICE, LED BY "AVATAR: THE WAY 1305 01:23:33,257 --> 01:23:34,425 OF WATER" AND "TOP GUN: MAVERICK." 1306 01:23:34,425 --> 01:23:39,564 THAT'S THE HIGHEST COMBINED FILM REVENUE SINCE 2010. 1307 01:23:39,564 --> 01:23:41,633 KELLY CARTER IS BACK WITH US TO TELL US MORE ABOUT WHAT'S 1308 01:23:41,633 --> 01:23:45,169 FUELLING THAT SUCCESS. KELLY? 1309 01:23:45,169 --> 01:23:47,605 >> YEAH, SEQUELS CAN BE GAME CHANGERS. 1310 01:23:47,605 --> 01:23:51,542 AND HOW THEY'RE MADE CAN BE EVEN MORE IMPORTANT THAN WHEN THEY'RE 1311 01:23:51,542 --> 01:23:53,344 MADE. HOLLYWOOD IS CERTAINLY TAKING 1312 01:23:53,344 --> 01:23:57,415 NOTE OF THE POWER OF THE SEQUEL. TAKE A LOOK. 1313 01:23:57,415 --> 01:24:02,453 OUR SEQUELS HOLLYWOOD'S NOT SO SECRET WEAPON? 1314 01:24:02,453 --> 01:24:05,323 HISTORY TELLS US THEY MIGHT BE THE KEY TO BOX OFFICE, AND EVEN 1315 01:24:05,323 --> 01:24:07,358 OSCAR GOLD. 1316 01:24:07,358 --> 01:24:11,329 >> WE'RE TALKING ABOUT SHOW BUSINESS. 1317 01:24:11,329 --> 01:24:16,501 WELL, THE SEQUEL IS A SHOW THAT IS MADE FOR BUSINESS REASONS. 1318 01:24:16,501 --> 01:24:22,407 IT HAS A BUILT-IN AUDIENCE. MANY OF THE PEOPLE WHO LOVED THE 1319 01:24:22,407 --> 01:24:26,511 FIRST MOVIE ARE GOING TO PAY THE SECOND. 1320 01:24:26,511 --> 01:24:31,215 >> MOVIES GIVE YOU A GOOD FEEL. SO THE REASON WHY SEQUELS ARE SO 1321 01:24:31,215 --> 01:24:35,586 IMPORTANT, WE WANT TO RELIVE NOT ONLY THE MANIC OF THE MOVIE, BUT 1322 01:24:35,586 --> 01:24:41,325 THE MAGIC OF THE MOMENT WE WERE IN WHILE WATCHING THE MOVIE. 1323 01:24:41,325 --> 01:24:47,932 >> JUST LOOK AT "THE BRIDE OF FRA FRANKENSTEIN" IN 1935. 1324 01:24:47,932 --> 01:24:52,637 THE SEQUEL HAILED AS A MASTERPIECE AFTER FOLLOWING THE 1325 01:24:52,637 --> 01:24:56,541 ORIGINAL FRANKENSTEIN. "THE GOOD, THE BAD, AND THE 1326 01:24:56,541 --> 01:25:02,480 UGLY" ANOTHER SEQUEL IN 1966, SO SUCCESSFUL IT MADE AN 1327 01:25:02,480 --> 01:25:03,347 INTERNATIONAL STAR OF THIS GUY. 1328 01:25:03,347 --> 01:25:06,617 ♪ 1329 01:25:06,617 --> 01:25:10,288 >> TALK TO ME, HUDSON. 1330 01:25:10,288 --> 01:25:14,325 >> FAST FORWARD 20 YEARS TO 1986. 1331 01:25:14,325 --> 01:25:19,497 FINDING ITS PLACE AS ONE OF THE HIGHEST GROSSING FILMS WORD WILD 1332 01:25:19,497 --> 01:25:24,435 AND WENT ON TO WIN TWO ACADEMY AWARDING. 1333 01:25:24,435 --> 01:25:27,305 "THE GOD FATHER 2" SEQUEL. 1334 01:25:27,305 --> 01:25:30,308 >> IT'S A MOVIE THAT SOME PREFER TO THE ORIGINAL. 1335 01:25:30,308 --> 01:25:35,279 THAT IS THE RAREST OF ALL MOVIES IN HOLLYWOOD, THE SEQUEL THAT 1336 01:25:35,279 --> 01:25:38,683 CAN BE ARGUABLY BETTER THAN THE FIRST. 1337 01:25:38,683 --> 01:25:44,355 >> AND "STAR WARS" EPISODE FIVE. THAT EPIC BLOCKBUSTER GARNERED 1338 01:25:44,355 --> 01:25:45,223 TWO OSCARS. 1339 01:25:45,223 --> 01:25:50,461 >> GOOD MORNING, AVIATORS. THIS IS YOUR CAPTAIN SPEAKING. 1340 01:25:50,461 --> 01:25:55,433 >> "TOP GUN" AND "AVATAR: THE WAY OF WATER," YOU NEED TO SEE 1341 01:25:55,433 --> 01:26:00,705 IT ON A BIG SCREEN. THESE ARE SEQUELS WITH A LARGER 1342 01:26:00,705 --> 01:26:02,740 PURPOSE, THAT DREW PEOPLE BACK 1343 01:26:02,740 --> 01:26:09,347 TO THEATERS AFTER THE PANDEMIC. 1344 01:26:09,347 --> 01:26:14,352 >> YOU CANNOT TALK ABOUT SEQUELS WITHOUT TALKING ABOUT "ROCKY." 1345 01:26:14,352 --> 01:26:18,756 IT'S ONE OF THE MOST ICONIC SEQUELS OF MOVIE FRANCHISE 1346 01:26:18,756 --> 01:26:20,691 HISTORY. SO MANY THINGS, THERE THE FIGHT 1347 01:26:20,691 --> 01:26:25,530 SCENES TO THE ICONIC PHILLY STEPS TO "EYE OF THE TIGER." 1348 01:26:25,530 --> 01:26:29,667 EVERY TIME I HEAR THAT SONG I THINK ABOUT "ROCKY" AND NOW WE 1349 01:26:29,667 --> 01:26:37,608 HAVE THE NEXT GENERATION OF THE SEQUELS WITH W"CREED" WITH 1350 01:26:37,608 --> 01:26:45,349 MICHAEL B. JORDAN MAKING HIS 1351 01:26:45,349 --> 01:26:52,690 EDITORIAL DEBUT WITH "CREED III." 1352 01:26:52,690 --> 01:26:57,662 >> AND "BLACK PANTHER: WAKANDA FOREVER," EARNING FIVE OSCAR 1353 01:26:57,662 --> 01:26:57,795 NODS. 1354 01:26:57,795 --> 01:27:05,503 >> IT DEFEATED THIS TROPE THAT A BLACK-LED CAST COULDN'T CARRY 1355 01:27:05,503 --> 01:27:13,477 THE BOX OFFICE GLOBALLY. WELL, "BLACK PANTHER" PROVED IT 1356 01:27:13,477 --> 01:27:16,581 TO BE WRONG FOR ANY OTHER STUDIO THAT IS THINKING OR NOT THINKING 1357 01:27:16,581 --> 01:27:23,521 ABOUT GREEN LIGHTING A BLACK ENSEMBLE, BECAUSE THAT TROPE NO 1358 01:27:23,521 --> 01:27:25,690 LONGER EXISTS WHY THEY DIDN'T GREEN LIGHT IT. 1359 01:27:25,690 --> 01:27:29,527 SO THE SOCIAL ASPECT OF IT, THERE WAS THIS BRILLIANT FILM 1360 01:27:29,527 --> 01:27:29,660 MAKING. 1361 01:27:29,660 --> 01:27:33,598 >> IN ALL, MORE THAN A DOZEN MOVIE SEQUELS HIT THE BIG SCREEN 1362 01:27:33,598 --> 01:27:36,868 IN 2022, AND DELIVERED BIG-TIME. BUT WHAT ABOUT THOSE WE'RE STILL 1363 01:27:36,868 --> 01:27:39,871 LONGING TO SEE? 1364 01:27:39,871 --> 01:27:47,612 >> HEY, YOU GUYS! JUST HOW CRAZYH 1365 01:27:47,612 --> 01:27:49,347 ASIANS NOW? KEEP THEM COMING, HOLLYWOOD. 1366 01:27:49,347 --> 01:27:54,352 WE WANT MORE. 1367 01:27:54,352 --> 01:27:57,388 >> IF YOU DIDN'T KNOW BEFORE, YOU DO NOW. 1368 01:27:57,388 --> 01:28:01,792 THERE IS POWER IN THE SEQUEL, AND IT SEEMS TO ME THAT A GREAT 1369 01:28:01,792 --> 01:28:05,496 FILM WITH ALMOST AS BIG A NAME WILL GUARANTEE THERE WILL BE A 1370 01:28:05,496 --> 01:28:09,667 SEQUEL IN THE MAKING BECAUSE THEY KNOW THERE'S A LOT MORE 1371 01:28:09,667 --> 01:28:10,568 MONEY TO BE MADE. 1372 01:28:10,568 --> 01:28:15,473 >> I'M ALL ABOUT THE SEQUEL. ALL RIGHT, KELLY, MAYBE ANOTHER 1373 01:28:15,473 --> 01:28:16,908 "GOONIES," I COULD BE UP FOR THAT, TOO. 1374 01:28:16,908 --> 01:28:23,614 COMING UP HERE, WE GO FROM THE BOX OFFICE HITS TO THE BIGGEST 1375 01:28:23,614 --> 01:28:25,483 WINNERS, WE WILL TELL YOU WHO IS 1376 01:28:36,694 --> 01:28:39,530 >>> WELCOME BACK. YOU'RE LOOKING LIVE AT THIS 1377 01:28:39,530 --> 01:28:41,933 YEAR'S CHAMPAGNE COLORED OSCARS ARRIVAL CARPET. 1378 01:28:41,933 --> 01:28:44,835 WE'RE STILL GETTING USED TO SAYING THAT, BUT THE PICTURES 1379 01:28:44,835 --> 01:28:49,740 ARE LOOKING GOOD SO FAR. WHILE THE NOMINEES AND 1380 01:28:49,740 --> 01:28:52,877 PRESENTERS WILL BE LINED UP IN FRONT OF DOZENS FROM AROUND THE 1381 01:28:52,877 --> 01:28:53,577 WORLD. 1382 01:28:53,577 --> 01:28:55,646 >> YOU SEE REPORTERS FROM AS FAR 1383 01:28:55,646 --> 01:29:01,886 AWAY AS EUROPE, AUSTRALIA, ASIA BROADCASTING LIVE BACK HOME. 1384 01:29:01,886 --> 01:29:06,590 MANY OF THOSE FANS ARE ALL ABOUT THE FASHION, WHICH BRINGS US TO 1385 01:29:06,590 --> 01:29:11,696 OUR STYLE EXPERT. SO LET'S TAULK ABOUT WHO THE 1386 01:29:11,696 --> 01:29:14,799 WINNERS IN PASSION, OTHER THAN WHIT JOHNSON. 1387 01:29:14,799 --> 01:29:18,636 >> I'M GIVING YOU FASHION LINGO HERE. 1388 01:29:18,636 --> 01:29:21,973 >> IF WE'RE GOING TO TALK ABOUT FASHION WINNERS, I HAVE TO GIVE 1389 01:29:21,973 --> 01:29:25,876 A SPECIAL SHOUTOUT TO MICHELLE YEOH FOR MANY REASONS. 1390 01:29:25,876 --> 01:29:29,914 SHE'S BREAKING THE BOUNDARIES WITH HER NOMINATION AND BEING A 1391 01:29:29,914 --> 01:29:32,850 FRONT-RUNNER TO TAKE HOME THE GOLDEN GUY TONIGHT. 1392 01:29:32,850 --> 01:29:37,722 BUT WE HAVE SEEN ON THIS ENTIRE AWARD CIRCUIT, THAT SHE'S DONE 1393 01:29:37,722 --> 01:29:42,059 INCREDIBLE STYLE BY PROVING YOU DON'T HAVE TO BE YOUNG TO BREAK 1394 01:29:42,059 --> 01:29:43,661 THROUGH. WE ALWAYS HEARD PEOPLE SAY 50 1395 01:29:43,661 --> 01:29:48,733 AND FABULOUS. HOW ABOUT SMOLDERING AND 60. 1396 01:29:48,733 --> 01:29:53,804 SHE'S REALLY DOING THOSE MOMENTS, SHE'S BEEN DARING, 1397 01:29:53,804 --> 01:29:56,974 HASN'T BEEN PREDICTABLE OR BORING. 1398 01:29:56,974 --> 01:30:02,646 AND SOMETIMES THOSE ICONIC MOMENTS, WHEN THEY WIN, THE 1399 01:30:02,646 --> 01:30:05,616 DRESS BECOMES AS ICONIC. 1400 01:30:05,616 --> 01:30:10,755 WE HEAR HALLE BARRY. 1401 01:30:10,755 --> 01:30:17,661 OR JEVEN JULIA ROBERTS. 1402 01:30:17,661 --> 01:30:20,965 >> THEN WE'LL SEW A LOT OF THE KNOCKOFFS. 1403 01:30:20,965 --> 01:30:22,600 >> ALWAYS, ALWAYS. 1404 01:30:22,600 --> 01:30:25,536 >> WHO ARE YOU THINKING ABOUT AS FAR AS A BREAKOUT FASHION EXPERT 1405 01:30:25,536 --> 01:30:25,669 TONIGHT? 1406 01:30:25,669 --> 01:30:28,973 >> WE'VE SEEN A LOT OF BREAKOUT STARS. 1407 01:30:28,973 --> 01:30:37,748 I LOVE STEPHANIE HSU FROM 1408 01:30:37,748 --> 01:30:43,854 "EVERYTHING EVERYWHERE ALL AT ONCE." 1409 01:30:43,854 --> 01:30:48,759 >> IT'S LIKE SHOPPING YOUR CLOSET, SO WE'LL GIVE YOU A 1410 01:30:48,759 --> 01:30:48,926 POINT -- 1411 01:30:48,926 --> 01:30:52,596 >> SUSTAINABILITY. THAT'S WHAT IT'S ALL ABOUT. 1412 01:30:52,596 --> 01:30:57,735 >> AND JEN ORTEGA. FLORENCE, WHO WAS RECENTLY AT 1413 01:30:57,735 --> 01:31:01,739 THE VALENTINO SHOW IN PARIS AND THE PAPARAZZI WENT CRAZY FOR HER. 1414 01:31:01,739 --> 01:31:03,707 THEY ARE GETTING THEIR BILLING, AS WELL. 1415 01:31:03,707 --> 01:31:07,645 >> AND SINCE YOU'VE BEEN WALKING ME THROUGH THIS, LET'S TALK 1416 01:31:07,645 --> 01:31:09,914 ABOUT THE FELLOWS. WHAT ARE YOU LOOKING FOR TODAY? 1417 01:31:09,914 --> 01:31:13,951 >> THE GUYS ALWAYS GET THE SHORT END OF THE STICK. NO MORE. 1418 01:31:13,951 --> 01:31:18,756 ONCE UPON A TIME GEORGE CLOONEY WOULD SAY, I JUST GOT MY TUXEDO 1419 01:31:18,756 --> 01:31:22,993 3 MINUTES BEFORE THE SHOW. NOW THEY'RE SITTING DOWN WITH 1420 01:31:22,993 --> 01:31:30,868 STYLISTS MONTHS IN ADVANCE, DESIGNING WHAT THEY WANT TO WEAR. 1421 01:31:30,868 --> 01:31:36,874 TIMOTHY HAS BROKEN BROGROUND TO 1422 01:31:36,874 --> 01:31:40,845 WHAT MEN CAN BE DRESSED LIKE ON THE RED CARPET. 1423 01:31:40,845 --> 01:31:42,713 >> I WAS GOING TO WEAR THAT TODAY. 1424 01:31:42,713 --> 01:31:45,583 >> MICHAEL B. JORDAN IS PRESENTING TONIGHT. 1425 01:31:45,583 --> 01:31:48,919 WE WOULD LOVE TO SEE WHAT HE'S WEARING. 1426 01:31:48,919 --> 01:31:53,991 BRIAN TYREE HENRY WHO HAS BEEN GREAT WITH ACCESSORIES THIS 1427 01:31:53,991 --> 01:31:59,697 SEASON. AND HE'S REALLY PUSHING THE 1428 01:31:59,697 --> 01:32:06,704 BOUNDARIES, IN A TUXEDO JUMP SUIT. 1429 01:32:06,704 --> 01:32:09,974 OF COURSING AUSTIN BUTLER IS, YOU KNOW, BASICALLY A SUPERMODEL 1430 01:32:09,974 --> 01:32:12,810 AT THIS POINT. AND PAUL MESCAL, WHO I ALSO LOVE. 1431 01:32:12,810 --> 01:32:16,947 >> SHOULD WE GIVE A SHOUTOUT TO ANDRE IN BROOKLYN? 1432 01:32:16,947 --> 01:32:22,920 >> THAT'S RIGHT. BESPOKE FASHIONS, ANDRE WOMACK, 1433 01:32:22,920 --> 01:32:26,824 THANK YOU FOR THE TUXEDO. I SHOP LOCAL. THANK YOU, JOE. 1434 01:32:26,824 --> 01:32:28,025 >> THANKS, JOE. 1435 01:32:28,025 --> 01:32:32,796 >>> COMING UP NEXT, THE EARLY 1436 01:32:32,796 --> 01:32:37,835 ROLES THAT GOT THE ACTORS FIRST NOTICED, DO YOU RECOGNIZE THE 1437 01:32:37,835 --> 01:32:40,037 TEENAGER YOU'RE ABOUT TO SEE? HERE IS A HINT. 1438 01:32:40,037 --> 01:32:42,706 NOTICE THE GUITAR IN HIS HANDS. WE'LL BE RIGHT BACK. 1439 01:32:55,986 --> 01:32:56,887 ♪ 1440 01:32:56,887 --> 01:33:00,991 >>> AS WE CONTINUE OUR COUNTDOWN TO TONIGHT'S AWARDS, WE TURN TO 1441 01:33:00,991 --> 01:33:05,796 THE FIVE TALENTED ARTISTS VYING FOR THE BEST ACTOR OSCAR. 1442 01:33:05,796 --> 01:33:09,934 ALL FIVE IN THIS CATEGORY ARE FIRST-TIME NOMINEES, SO FOR 1443 01:33:09,934 --> 01:33:12,102 THEM, THIS IS KIND OF A COMING OUT PARTY. 1444 01:33:12,102 --> 01:33:16,807 BUT THEIR PATH TO THE OSCARS WAS ANYTHING BUT DIRECT. 1445 01:33:16,807 --> 01:33:20,711 HERE THEY ARE LONG BEFORE THEY WERE IN THE OSCAR SPOTLIGHT. 1446 01:33:20,711 --> 01:33:26,083 >> SHE WASN'T TRYING TO HURT HIM, SHE WAS TRYING TO HELP HIM. 1447 01:33:26,083 --> 01:33:29,853 >> BRENDAN FRASER IS RIDING A CAREER HIGH FOR HIS NOMINATION 1448 01:33:29,853 --> 01:33:30,054 FOR "THE WHALE." 1449 01:33:30,054 --> 01:33:36,894 >> DO YOU EVER GET THE FEELING THAT PEOPLE ARE INCAPABLE OF NOT 1450 01:33:36,894 --> 01:33:38,963 CARING? 1451 01:33:38,963 --> 01:33:46,737 >> NOT SO CELEBRATED, HIS ROLE AS THE CLINICAL TRIAL PATIENT - 1452 01:33:46,737 --> 01:33:48,872 CANDY" 1996. 1453 01:33:48,872 --> 01:33:52,009 >> MY FACE TELLS ME IT'S SUGAR. 1454 01:33:52,009 --> 01:33:56,046 >> HE PLAYS SAILOR NUMBER TWO IN THIS EARLY FILM "DOGFIGHT" 1455 01:33:56,046 --> 01:34:01,118 BEFORE FIGHTING ANTI-SEMITISM IN HIS BREAKOUT RULE "SCHOOL TIES" 1456 01:34:01,118 --> 01:34:01,785 IN 1992. 1457 01:34:01,785 --> 01:34:06,924 >> YOU PEOPLE ARE VERY DETERMINED, AREN'T YOU? 1458 01:34:06,924 --> 01:34:08,826 >> SOMETIMES WE HAVE TO BE, SIR. 1459 01:34:08,826 --> 01:34:13,230 >> WITH A SUPPORTING CAST THAT INCLUDED MATT DAMON, BEN AFFLECK 1460 01:34:13,230 --> 01:34:15,065 AND CHRIS O'DONNELL. 1461 01:34:15,065 --> 01:34:18,168 >> FIND IF I ASK, HOW DID YOU WIND UP HERE? 1462 01:34:18,168 --> 01:34:22,039 >> FOR THE FANS, HE'LL ALWAYS BE "ENCINO MAN." 1463 01:34:22,039 --> 01:34:24,074 >> I'LL BE BACK. 1464 01:34:24,074 --> 01:34:29,213 >> AND REUNITING WITH PAULEY SHORE FOR THIS CAMEO IN 1465 01:34:29,213 --> 01:34:29,980 "SON-IN-LAW." 1466 01:34:29,980 --> 01:34:39,790 >> YOU WORE A COSTUME. 1467 01:34:39,790 --> 01:34:42,059 >> OH, GROSS! 1468 01:34:42,059 --> 01:34:46,997 >> PAUL MESCAL IS NOMINATED FOR PLAYING A DAD NAVIGATING HIS 1469 01:34:46,997 --> 01:34:49,967 DAUGHTER'S TEENAGE YEARS IN "AFTERSUN." 1470 01:34:49,967 --> 01:34:54,104 >> I LOVE TO DANCE. 1471 01:34:54,104 --> 01:35:02,012 >> HE'S A CABANA BOY IN "THE LOST DAUGHTER." 1472 01:35:02,012 --> 01:35:02,880 AND CHECK THIS OUT. 1473 01:35:02,880 --> 01:35:04,982 ♪ 1474 01:35:04,982 --> 01:35:11,288 THAT'S PAUL IN THE ROLLING STONE'S OFFICIAL VIDEO OF THEIR 1475 01:35:11,288 --> 01:35:12,022 SONG "SCARLET." 1476 01:35:12,022 --> 01:35:15,192 ♪ 1477 01:35:15,192 --> 01:35:18,228 >> BILL NIGHY IS NOMINATED FOR 1478 01:35:18,228 --> 01:35:25,302 PLAYING A DYING MAN IN "LIVING." 1479 01:35:25,302 --> 01:35:28,972 >> IF ONLY TO BE ALIVE LIKE THAT FOR ONE DAY. 1480 01:35:28,972 --> 01:35:33,944 >> WE REMEMBER HIM AS BILLY MAC FROM "LOVE ACTUALLY." 1481 01:35:33,944 --> 01:35:38,982 TURNS OUT HE HAD PRACTICE FOR THE ROLE YEARS EARLIER IN 1998'S 1482 01:35:38,982 --> 01:35:39,983 "STILL CRAZY." 1483 01:35:39,983 --> 01:35:43,253 ♪ 1484 01:35:43,253 --> 01:35:45,122 ♪ WALKING FROM THE GATES OF 1485 01:35:45,122 --> 01:35:48,292 EDEN, I COULD HEAR THE SOUNDS OF FREEDOM ♪ 1486 01:35:48,292 --> 01:35:52,296 >> IN "BLOW DRY" HE WAS A HAIR DRESSER IN A RUTHLESS 1487 01:35:52,296 --> 01:35:53,130 COMPETITION. 1488 01:35:53,130 --> 01:35:54,998 >> THE COMPETITION HAS STARTED. 1489 01:35:54,998 --> 01:36:01,939 >> AND JUST LOOK AT HIM AS DIANE KEATON'S ACTING BUDDY FROM "THE 1490 01:36:01,939 --> 01:36:03,340 LITTLE DRUMMER GIRL" IN 1984. 1491 01:36:03,340 --> 01:36:05,909 >> WHAT IS HE DOING HERE? 1492 01:36:05,909 --> 01:36:09,913 >> COLIN FARRELL DISCOVERS WHAT IT'S LIKE TO LOSE A FRIEND IN 1493 01:36:09,913 --> 01:36:10,214 "THE BANSHEES OF INISHERIN." 1494 01:36:10,214 --> 01:36:11,315 >> YOU KNOW WHAT YOU USED TO BE? 1495 01:36:11,315 --> 01:36:13,283 >> NO, WHAT DID I USED TO BE? 1496 01:36:13,283 --> 01:36:17,121 >> NICE. YOU USED TO BE NICE! 1497 01:36:17,121 --> 01:36:21,225 >> ON "SCRUBS," GIVING LIFE LESSONS. 1498 01:36:21,225 --> 01:36:26,397 >> YOU HAVE TO GET OUT ON THE STREETS AND TALK TO A STRANGER, 1499 01:36:26,397 --> 01:36:30,334 DRINK A BEER WITH BREAKFAST. TAKE THE UGLIEST GIRL HOME. 1500 01:36:30,334 --> 01:36:37,307 >> AND IN HIS FIRST APPEARANCE, HE'S WATCHING WITH HIS BUDYS IN 1501 01:36:37,307 --> 01:36:39,276 1995. AND JUST A COUPLE YEARS AGO, 1502 01:36:39,276 --> 01:36:43,313 BREAKING HEARTS IN "FALLING FOR A DANCER." 1503 01:36:43,313 --> 01:36:46,150 >> CARE TO DANCE? 1504 01:36:46,150 --> 01:36:51,121 >> OH, WELL. 1505 01:36:51,121 --> 01:36:53,390 >> AUSTIN BUTLER CAPTIVATES AS ELVIS. 1506 01:36:53,390 --> 01:37:00,964 ♪ 1507 01:37:00,964 --> 01:37:05,269 JUST LIKE ELVIS, BUTLER GOT HIS START AS A HEARTTHROB. 1508 01:37:05,269 --> 01:37:07,938 >> HI, I'M LUCAS' COUSIN, DEREK. 1509 01:37:07,938 --> 01:37:09,006 >> YES, YOU ARE. 1510 01:37:09,006 --> 01:37:12,342 >> HIS FIRST TV ROLE ON "HANNA MONTANA" IN 2006. 1511 01:37:12,342 --> 01:37:18,015 >> IT'S JUST A MOVIE, IT'S JUST A MOVIE. 1512 01:37:18,015 --> 01:37:20,317 >> WE'RE SAFE. 1513 01:37:20,317 --> 01:37:27,324 >> IT'S IRONIC NOW THAT ON I-CARLY, HE PLAYED A SINGER WHO 1514 01:37:27,324 --> 01:37:28,091 COULDN'T CARRY A TUNE. 1515 01:37:28,091 --> 01:37:31,028 ♪ YOU'RE SO BEAUTIFUL, I NEED 1516 01:37:31,028 --> 01:37:32,396 THE WORLD TO SEE ♪ 1517 01:37:32,396 --> 01:37:37,067 >> HOW'S THAT? 1518 01:37:37,067 --> 01:37:40,137 >> AND WHILE GATHERING PHRASE FOR MASTERING THE VOICE OF THE 1519 01:37:40,137 --> 01:37:40,337 KING -- 1520 01:37:40,337 --> 01:37:45,075 >> THIS IS SOMETHING I AIN'T NEVER SAID TO NOBODY BEFORE, I 1521 01:37:45,075 --> 01:37:46,243 BELIEVE I CAN BE GREAT, TOO. 1522 01:37:46,243 --> 01:37:51,114 >> WE LOVE EVEN MORE HIS ATTEMPT AT THIS CANADIAN ACCENT IN KEVIN 1523 01:37:51,114 --> 01:37:54,351 SMITH'S "YOGA HOSERS, HEY." 1524 01:37:54,351 --> 01:37:58,155 >> SORRY ABOUT THAT. HE'S SUCH A SITCOM. 1525 01:37:58,155 --> 01:38:05,062 I GUESS I GOT A LITTLE CARRIED AWAY THERE. SORRY ABOUT THAT. 1526 01:38:05,062 --> 01:38:09,333 >> SO IS HE GOING WITH COMEDY WITH THAT CANADIAN ACCENT? 1527 01:38:09,333 --> 01:38:12,236 >> NOT SURE ON THAT ONE. MORE ELVIS THAN THAT ONE. 1528 01:38:12,236 --> 01:38:16,039 >> I GUESS WE'LL HAVE TO ASK HIM IF WE SEE HIM LATER ON. 1529 01:38:16,039 --> 01:38:19,343 >> WE ARE ALSO GETTING CLOSER TO SEEING THE NOMINEES LIVE ON THE 1530 01:38:19,343 --> 01:38:22,446 CARP NET A COUPLE OF HOURS. FOUR OF THEM IN THE ACTING 1531 01:38:22,446 --> 01:38:29,353 CATEGORIES COME FROM THE SAME MOVIE, AN IMPRESSIVE SHOWING FOR 1532 01:38:29,353 --> 01:38:31,221 "EVERYTHING EVERYWHERE ALL AT ONCE," WHICH SNAGGED A TOTAL OF 1533 01:38:31,221 --> 01:38:34,424 11 NOMINATIONS. WE WILL HEAR FROM THE MOVIE'S 1534 01:38:34,424 --> 01:38:35,225 DIRECTORS, RIGHT AFTER THIS. 1535 01:38:46,336 --> 01:38:51,508 >>> AND THE STARS ARE ARRIVING ON THE CHAMPAGNE CARPET. 1536 01:38:51,508 --> 01:38:55,312 THAT'S LAVERN COX JUST ARRIVING AND LOOKING BEAUTIFUL. 1537 01:38:55,312 --> 01:38:57,514 >> WE'RE GETTING THE PICTURES TAKEN. 1538 01:38:57,514 --> 01:38:59,149 >> THEY HAVE A WIND MACHINE. 1539 01:38:59,149 --> 01:39:01,285 >> THEY HAVE IT ALL GOING ON OUT HERE. 1540 01:39:01,285 --> 01:39:05,222 CLOSER TO THIS YEAR'S CEREMONY OF THE 20 ACTING NOMINEES, WE'RE 1541 01:39:05,222 --> 01:39:09,459 GETTING CLOSER TO THAT TONIGHT. FOUR ARE OF ASIAN DESCENT. 1542 01:39:09,459 --> 01:39:13,096 THAT'S NEVER HAPPENED BEFORE. THREE OF THOSE NOMINEES ARE FROM 1543 01:39:13,096 --> 01:39:17,200 A FILM THAT MAY TAKE HOME THE PRIZE TONIGHT, THE BEST PICTURE. 1544 01:39:17,200 --> 01:39:22,406 >> THERE'S BEEN SO MUCH BUZZ ABOUT "EVERYTHING EVERYWHERE ALL 1545 01:39:22,406 --> 01:39:24,141 AT ONCE." IT'S THE MOST NOMINATED FILM OF 1546 01:39:24,141 --> 01:39:25,475 THE YEAR WITH 11 NOMINATIONS 1547 01:39:25,475 --> 01:39:32,182 TONIGHT, INCLUDING BEST DIRECTOR 1548 01:39:32,182 --> 01:39:37,454 FOR DANIEL KWAN AND DANIEL SCHEINERT. 1549 01:39:37,454 --> 01:39:43,527 TH DIRECTOR'S FAVORITE GO-TO KARAOKE SONG IS "TORN." 1550 01:39:43,527 --> 01:39:47,564 >> WHICH ONE OF YOU IS GOING TO 1551 01:39:47,564 --> 01:39:52,536 ENTERTAIN ME BY BELTING OUT "TORN?" 1552 01:39:52,536 --> 01:39:58,108 >> THAT'S MORE OF YOUR KARAOKE SONG. 1553 01:39:58,108 --> 01:39:58,408 ♪ 1554 01:39:58,408 --> 01:40:01,578 ♪ THIS IS HOW I FEEL 1555 01:40:01,578 --> 01:40:05,349 ♪ LYING NAKED 1556 01:40:05,349 --> 01:40:07,451 >> IS THIS YOUR GO-TO FIRST QUESTION? 1557 01:40:07,451 --> 01:40:10,153 >> PRETTY MUCH. CATE BLANCHETT JUST STARED AT ME 1558 01:40:10,153 --> 01:40:15,492 WHEN I ASKED HER THAT. SO YOU GUYS MET AS COUNSELORS AT 1559 01:40:15,492 --> 01:40:16,326 A CAMP? 1560 01:40:16,326 --> 01:40:22,165 >> WE MET IN SCHOOL, THEN WE GOT A SUMMER JOB AS LIKE PAs AT A 1561 01:40:22,165 --> 01:40:25,636 FILM SUMMER CAMP. OUR JOB WAS TO SUPERVISE KIDS 1562 01:40:25,636 --> 01:40:31,441 WHILE THEY MADE SHORT FILMS. WE WOULD ENCOURAGE THEM TO MAKE 1563 01:40:31,441 --> 01:40:36,446 INCREASINGLY STRANGE AND MILDLY DANGEROUS SHORT FILMS AND GET 1564 01:40:36,446 --> 01:40:37,614 PAID FOR IT. 1565 01:40:37,614 --> 01:40:41,184 >> IT WAS THE BEST JOB. WE WERE SPENDING SO MUCH TIME 1566 01:40:41,184 --> 01:40:43,420 WITH THESE KIDS THAT WE GOT JELL LOSS. 1567 01:40:43,420 --> 01:40:46,523 ONE DAY AFTER WORK, IT WAS LIKE 2:00 IN THE MORNING. 1568 01:40:46,523 --> 01:40:53,430 THE FIRST THING WE MADE TOGETHER WE PUT ONLINE AND THAT IS HOW 1569 01:40:53,430 --> 01:40:56,299 EVERYTHING STARTED. IT WAS JUST US PLAYING AROUND. 1570 01:40:56,299 --> 01:40:57,701 >> PLAYING AROUND ON A SWING SET. 1571 01:40:57,701 --> 01:41:02,406 YOU DESCRIBED YOURSELVES AS HYPE MEN WHEN IT COMES TO BEING 1572 01:41:02,406 --> 01:41:04,174 DIRECTORS. WHAT DO YOU MEAN WHEN YOU SAY 1573 01:41:04,174 --> 01:41:04,341 THAT? 1574 01:41:04,341 --> 01:41:06,510 >> I FEEL LIKE I'M A CHEERLEADER AT TIMES. 1575 01:41:06,510 --> 01:41:08,545 >> THAT'S HIS SUPERPOWER. 1576 01:41:08,545 --> 01:41:16,353 >> I JUST LOVE TO CURATE PEOPLE WHEN THEY'RE TALENTED. 1577 01:41:16,353 --> 01:41:22,259 WE MET OFFICIAL AND WE COULD TELL THERE WAS SO MUCH MORE TO 1578 01:41:22,259 --> 01:41:25,629 MICHELLE YEOH. SO THAT CAME THE FUN, JUST TO 1579 01:41:25,629 --> 01:41:26,663 REMIND HER HOW FUNNY AND 1580 01:41:26,663 --> 01:41:39,576 VULNERABLE AND STRANGE SHE IS. 1581 01:41:39,576 --> 01:41:40,544 >> WHAT THE? 1582 01:41:40,544 --> 01:41:42,679 >> LIKE THAT'S GOING TO MAKE 1583 01:41:42,679 --> 01:41:50,220 THIS CHARACTER SO UNIQUE. 1584 01:41:50,220 --> 01:41:53,457 >> WHAT DID IT MEAN TO YOU TO SEE MICHELLE YEOH IN THAT 1585 01:41:53,457 --> 01:41:58,562 INTERVIEW SHE DID WITH "GQ" RESPOND SO EMOTIONALLY TO WHAT 1586 01:41:58,562 --> 01:42:02,699 YOU ARE TALKING ABOUT, TO BEING SEEN IN A WAY SHE HAD NEVER BEEN 1587 01:42:02,699 --> 01:42:03,467 SEEN BEFORE? 1588 01:42:03,467 --> 01:42:07,437 >> THIS IS SOMETHING I'VE BEEN WAITING FOR, FOR A LONG TIME, 1589 01:42:07,437 --> 01:42:13,543 THAT'S GOING TO GIVE ME THE 1590 01:42:13,543 --> 01:42:19,349 OPPORTUNITY TO SHOW MY FANS, MY FAMILY, MY AUDIENCE, WHAT I'M 1591 01:42:19,349 --> 01:42:20,484 CAPABLE OF. 1592 01:42:20,484 --> 01:42:25,622 >> IT WAS SO POWERFUL. IT MADE ME CRY, AND PART OF ME 1593 01:42:25,622 --> 01:42:30,360 WAS LIKE, WHY DIDN'T SHE EVER SAY THAT TO MY FACE? 1594 01:42:30,360 --> 01:42:32,662 >> MICHELLE HAS BEEN IN THIS INDUSTRY A LONG TIME, SO BECAUSE 1595 01:42:32,662 --> 01:42:37,701 OF THAT, SHE'S HAD TO BE GUARDED. HE EVEN TOLD US THAT. 1596 01:42:37,701 --> 01:42:43,373 HOLLYWOOD, YOU HAVE TO PROTECT YOURSELF. 1597 01:42:43,373 --> 01:42:47,410 I HAVE SO MUCH RESPECT FOR HER, FOR BEING ABLE TO SURVIVE THIS 1598 01:42:47,410 --> 01:42:49,613 INDUSTRY FOR THE DECADES THAT SHE'S BEEN WORKING. 1599 01:42:49,613 --> 01:42:53,583 YOU KNOW, WE DIDN'T EVEN FIND OUT UNTIL AFTER WE FINISHED 1600 01:42:53,583 --> 01:42:56,353 SHOOTING THE MOVIE, THIS WAS THE FIRST TIME SHE WAS AT THE TOP OF 1601 01:42:56,353 --> 01:42:59,756 THE CALL SHEET IN HOLLYWOOD. THE FIRST TIME SHE WAS THE STAR 1602 01:42:59,756 --> 01:43:03,393 OF A HOLLYWOOD PRODUCTION, EVEN THOUGH INTERNATIONALLY SHE'S AN 1603 01:43:03,393 --> 01:43:07,330 ICON.P>> YOU HAVE SO MUCH GOING. IT'S SO CREATIVE AN INVENTIVE 1604 01:43:07,330 --> 01:43:12,369 AND SO MUCH OF THE MOMENT. YET AT ITS HEART, IT'S SUCH A 1605 01:43:12,369 --> 01:43:15,505 POWERFUL, INTIMATE FAMILY STORY. HOW DID YOU MANAGE TO SUSTAIN 1606 01:43:15,505 --> 01:43:19,442 BOTH OF THOSE QUALITIES WHILE MAKING IT, AND THEN EDITING IT? 1607 01:43:19,442 --> 01:43:22,445 >> I FEEL LIKE THAT WAS THE WHOLE POINT WE DECIDED TO DIVE 1608 01:43:22,445 --> 01:43:26,283 INTO THIS MOVIE. WE WANTED TO REFLECT THE CHAOS 1609 01:43:26,283 --> 01:43:26,650 OF MODERN LIFE. 1610 01:43:26,650 --> 01:43:29,619 >> WAIT, WAIT, NO TIME TO WAIT. 1611 01:43:29,619 --> 01:43:34,357 >> AND ALMOST TEACH OURSELVES HOW WE COULD SURVIVE IN IT, HOW 1612 01:43:34,357 --> 01:43:37,294 WE COULD THRIVE IN IT. WHEN WE DISCOVERED THAT, THAT 1613 01:43:37,294 --> 01:43:39,696 WAS THE PRIORITY, RIGHT NEXT TO THE CHAOS. 1614 01:43:39,696 --> 01:43:44,434 CAN THESE TWO THINGS CO-EXIST, CAN THE SMALL, FAMILY DRAMA 1615 01:43:44,434 --> 01:43:46,803 STILL SHINE THROUGH? IF IT CAN MANAGE TO PULL THAT 1616 01:43:46,803 --> 01:43:49,739 OFF, MAYBE WE CAN DO THAT IN OUR OWN LIVES. 1617 01:43:49,739 --> 01:43:53,810 HAVING THIS CAST PORTRAY THAT FAMILY IS WHAT PUSHES IT OVER 1618 01:43:53,810 --> 01:43:54,511 THE EDGE. 1619 01:43:54,511 --> 01:43:56,313 >> STOP. 1620 01:43:56,313 --> 01:44:02,586 >> OUCH! HI, DAD. 1621 01:44:02,586 --> 01:44:06,756 >> AND I'M NOT SURE IF IT WILL WIN OR NOT, BUT "EVERYTHING 1622 01:44:06,756 --> 01:44:10,694 EVERYWHERE ALL AT ONCE" WOULD BE THE IDEAL BEST PICTURE FOR A 1623 01:44:10,694 --> 01:44:13,697 REINVIGORATED ACADEMY EAGER TO ATTRACT A YOUNGER AUDIENCE OF 1624 01:44:13,697 --> 01:44:17,801 FANS. IT'S MADE BY ON THE RISE DIRECTORS WHO SCORED TEN YEARS 1625 01:44:17,801 --> 01:44:22,739 AGO WITH THE "TURN DOWN FOR WHAT" MUSIC VIDEO. 1626 01:44:22,739 --> 01:44:29,446 IT LIVES IN THE MULTIVERSE, AND IT'S LIFTED UP AT LEAST THREE 1627 01:44:29,446 --> 01:44:33,783 ABSOLUTELY BELOVED ACTOR'S CAREERS TO GLORIOUS NEW HEIGHTS 1628 01:44:33,783 --> 01:44:37,520 AND HAPPINESS. AND IT WAS A BOX OFFICE HIT, TOO. 1629 01:44:37,520 --> 01:44:41,691 SO WHAT IS NOT TO LIKE OR ROOT FOR? LINSEY? 1630 01:44:41,691 --> 01:44:47,530 >> THEY WENT TO THE CHAMPAGNE CARPET OF HOLLYWOOD. 1631 01:44:47,530 --> 01:44:49,633 THANK YOU SO MUCH. I KNOW A LOT OF PEOPLE ARE 1632 01:44:49,633 --> 01:44:53,703 ROOTING FOR THIS MOVIE. IT WILL BE AN EXCITING NIGHT FOR 1633 01:44:53,703 --> 01:44:57,908 THAT TEAM. STAY TUNED. WE HAVE A LOT MORE AHEAD TO THE 1634 01:44:57,908 --> 01:44:59,976 COUNTDOWN OF THE 95th ANNUAL ACADEMY AWARDS. 1635 01:44:59,976 --> 01:45:06,650 WHEN WE RETURN, WE REMEMBER THE MOST ICONIC MUSICAL PERFORMANCE 1636 01:45:06,650 --> 01:45:09,719 IN OSCARS HISTORY, INCLUDE THING HIT FROM CELINE DION. 1637 01:45:09,719 --> 01:45:11,821 ♪ 1638 01:45:24,567 --> 01:45:28,571 >>> JUST GET TRAINED. JUST TRAIN, TRAIN AS MUCH AS YOU 1639 01:45:28,571 --> 01:45:30,540 CAN. IT'S VERY HARD NOW TO GET THE 1640 01:45:30,540 --> 01:45:35,578 TYPE OF TRAINING I HAD, WHICH I APPRENTICED AT THE BBC, I WENT 1641 01:45:35,578 --> 01:45:39,916 TO COLLEGE FOR THREE YEARS, FIVE YEARS BEFORE I WAS IN FRONT OF A 1642 01:45:39,916 --> 01:45:41,918 CAMERA. IT'S HARD TO GET THAT NOW. 1643 01:45:41,918 --> 01:45:45,488 BUT GET AS MUCH TRAINING AS YOU POSSIBLY CAN, AND REALLY EXPAND 1644 01:45:45,488 --> 01:45:48,692 YOUR SKILLS. 1645 01:45:48,692 --> 01:45:52,495 >> THOSE APPRENTICESHIPS PAY OFF. 1646 01:45:52,495 --> 01:45:55,699 WE ARE BACK LIVE OUTSIDE OF THE DOLBY THEATRE HERE IN HOLLYWOOD, 1647 01:45:55,699 --> 01:45:59,736 COUNTING DOWN TO TONIGHT'S ACADEMY AWARDS, WHICH WILL 1648 01:45:59,736 --> 01:46:03,540 FEATURE LIVE APPEARANCES FROM SEVERAL OF THE BIGGEST STARS 1649 01:46:03,540 --> 01:46:06,743 LIKE DWAYNE JOHNSON, RIHANNA, MICHAEL B. JORDAN, LADY GAGA, 1650 01:46:06,743 --> 01:46:09,679 AND ONE NAME THAT'S BEEN MENTIONED THAT EVERYBODY IS 1651 01:46:09,679 --> 01:46:12,549 EXCITED ABOUT, MAVERICK HIMSELF, TOM CRUISE. 1652 01:46:12,549 --> 01:46:18,755 OF COURSE, HE'S CREDITED AS ONE OF THE PRODUCERS OF "TOP GUN: 1653 01:46:18,755 --> 01:46:20,623 MAVERICK." IF THEY WIN, HE WILL GO UP ON 1654 01:46:20,623 --> 01:46:25,795 THE STAGE WITH THE TEAM TO ACCEPT. 1655 01:46:25,795 --> 01:46:29,866 >> IT HAS BEEN SO MUCH FUN TO MEET ALL OF THE ACTORS AND 1656 01:46:29,866 --> 01:46:33,003 FILMMAKERS NOMINATED TONIGHT. BUT I'M LOOKING FORWARD TO 1657 01:46:33,003 --> 01:46:35,638 SEEING THE MUSICAL PERFORMANCES TONIGHT. 1658 01:46:35,638 --> 01:46:39,743 SO MANY GREAT ARTISTS ARE NOMINATED THIS YEAR. 1659 01:46:39,743 --> 01:46:42,812 WHO KNOWS WHICH WILL GO FROM MUSIC ICON TO OSCAR ICON? 1660 01:46:42,812 --> 01:46:47,751 AND THERE IS SUCH A RICH HISTORY OF BLOCKBUSTER PERFORMANCES ON 1661 01:46:47,751 --> 01:46:51,688 THE OSCARS. SO WE ASKED CHRIS CONLEY TO OPEN 1662 01:46:51,688 --> 01:46:52,956 UP THE VAULT FOR US. 1663 01:46:52,956 --> 01:46:57,660 >> NOTHING FIRES UP THE OSCAR AUDIENCE LIKE LIVE MUSIC 1664 01:46:57,660 --> 01:47:03,700 PERFORMED INSIDE THE DOLBY DOES. LAST YEAR'S RETURN OF THE BEST 1665 01:47:03,700 --> 01:47:11,674 ORIGINAL SONG NOMINEES GETTING PLAYED 1666 01:47:11,674 --> 01:47:12,876 PLAYED, THERE'S SURE TO BE MORE IN STORE. 1667 01:47:12,876 --> 01:47:18,548 TO ADD TO THE LIST OF SUPERSTAR PERFORMANCES. 1668 01:47:18,548 --> 01:47:23,820 ♪ IT FEELS SO GOOD TO BE ALIVE 1669 01:47:23,820 --> 01:47:28,024 >> AFTER THE RELEGATION TO THE PRESHOW IN 2021, THE BEST 1670 01:47:28,024 --> 01:47:32,695 ORIGINAL SONG PERFORMANCES IN 2022 SHOWCASED WHAT A DIFFERENCE 1671 01:47:32,695 --> 01:47:33,797 A POP STAR CAN MAKE. 1672 01:47:33,797 --> 01:47:37,801 >> I WANTED TO HAVE ALL OF THE NOMINEES FOR ORIGINAL SONG TO 1673 01:47:37,801 --> 01:47:42,038 PERFORM. TO ME, THAT'S THE BEAUTY OF THE 1674 01:47:42,038 --> 01:47:44,641 OSCARS. IT GOES PART AND PARCEL WITH THE 1675 01:47:44,641 --> 01:47:45,875 CELEBRATION OF THE MOVIES. 1676 01:47:45,875 --> 01:47:54,684 >> FROM BEYONCE HONORING SERENA 1677 01:47:54,684 --> 01:47:54,984 AND SVENUS -- 1678 01:47:54,984 --> 01:47:56,820 ♪ 1679 01:47:56,820 --> 01:48:01,658 >> BILLIE EILISH'S HEART POUNDING BALLAD, BY THE YOUNGEST 1680 01:48:01,658 --> 01:48:02,759 ARTIST TO EVER DO ONE. 1681 01:48:02,759 --> 01:48:10,900 ♪ 1682 01:48:10,900 --> 01:48:15,071 >> YEAR AFTER YEAR, ONLY THE ACADEMY AWARDS CAN BRING OUT THE 1683 01:48:15,071 --> 01:48:19,776 BIGGEST SUPERSTARS IN MUSIC JUST WHEN THEY'RE AT THEIR VERY 1684 01:48:19,776 --> 01:48:24,714 HOTTEST, FOR LIVE PERFORMANCES THAT ENDURE. 1685 01:48:24,714 --> 01:48:28,918 ♪ 1686 01:48:28,918 --> 01:48:36,059 >> ONE OF BARBRA STREISAND'S TWO OSCARS, FROM THE 1976 VERSION OF 1687 01:48:36,059 --> 01:48:42,765 "A STAR IS BORN." THE FILM SHE ONCE WOULD CO-STAR 1688 01:48:42,765 --> 01:48:46,002 ELVIS PRESLEY. TWO YEARS AGO, IT WAS THE GREAT 1689 01:48:46,002 --> 01:48:48,071 DONNA SUMMER, PERFORMING THE 1690 01:48:48,071 --> 01:48:54,677 GRAMMY, GOLDEN CLUB AND KACADEM 1691 01:48:54,677 --> 01:48:58,815 AWARD WINNING SONG "THANK GOD IT'S FRIDAY." 1692 01:48:58,815 --> 01:49:02,886 ♪ 1693 01:49:02,886 --> 01:49:08,992 1991, MADONNA SERVED UP HOLLYWOOD GLAM IN A MARILYN 1694 01:49:08,992 --> 01:49:14,731 MONROE STYLE PERFORMANCE OF "SOONER OR LATER." 1695 01:49:14,731 --> 01:49:20,837 ♪ 1696 01:49:20,837 --> 01:49:27,010 >> NOT ONLY WERE EYES ON MADONNA FOR HER SULTRY PERFORMANCE, SHE 1697 01:49:27,010 --> 01:49:30,914 ATTENDED WITH MICHAEL JACKSON, WHO WAS NO STRANGER TO THE 1698 01:49:30,914 --> 01:49:34,050 OSCARS. GOING BACK TO HIS 1973 DEBUT ON 1699 01:49:34,050 --> 01:49:34,784 THE SHOW. 1700 01:49:34,784 --> 01:49:40,023 >> IT WILL BE SUNG BY A YOUNG MAN WHOSE TALENT IS MATURE BUT 1701 01:49:40,023 --> 01:49:42,926 WHOSE AGE SUGGESTS MAYBE HE SHOULDN'T BE UP THIS LATE. 1702 01:49:42,926 --> 01:49:47,764 >> 14, THE SECOND YOUNGEST ARTIST TO EVER NOTCH A NUMBER 1703 01:49:47,764 --> 01:49:54,771 >> TRY LISTENING TO A MUSIC WITHOUT MUSIC. 1704 01:49:54,771 --> 01:49:55,004 IT'S ANOTHER CHARACTER. 1705 01:49:55,004 --> 01:49:57,907 ♪ 1706 01:49:57,907 --> 01:50:01,044 >> BEST ORIGINAL SONG PERFORMANCES HAVE CONTRIBUTED TO 1707 01:50:01,044 --> 01:50:08,851 SOME OF THE HIGHEST RATED OSCARS IN HISTORY, LIKE IN 1998, WHEN 1708 01:50:08,851 --> 01:50:15,992 CELINE DION BROUGHT DOWN THE HOUSE WITH "TITANIC." 1709 01:50:15,992 --> 01:50:18,127 ♪ OUR HEARTS WILL GO ON 1710 01:50:18,127 --> 01:50:26,236 >> JUST TEN YEARS AGO, TADELE HD 1711 01:50:26,236 --> 01:50:28,204 THE SPECTACULAR "SKY FALL." 1712 01:50:28,204 --> 01:50:38,982 ♪ 1713 01:50:38,982 --> 01:50:42,185 >> MOVIES CAPTURE OUR IMAGINATION. 1714 01:50:42,185 --> 01:50:46,956 BUT MUSIC, YOU CAN REMEMBER EACTLY WHAT YOU WERE DOING 1715 01:50:46,956 --> 01:50:49,025 SPECIFICALLY WHEN YOU HEARD THAT FIRST SONG. 1716 01:50:49,025 --> 01:50:52,895 YOUR FIRST KISS, YOUR FIRST DATE, WHAT WAS PLAYING. 1717 01:50:52,895 --> 01:50:58,835 >> WITH THEIR STAR IS BORN CHEMISTRY IS ON FULL DISPLAY, 1718 01:50:58,835 --> 01:51:02,105 LADY GAGA AND BRADLEY COOPER HAD AUDIENCES SWOONING AND RELIVING 1719 01:51:02,105 --> 01:51:06,042 THE MOMENT IN 2019. 1720 01:51:06,042 --> 01:51:08,144 ♪ 1721 01:51:08,144 --> 01:51:14,117 >> AND AT THE 85th OSCARS, JENNIFER HUDSON NEEDED JUST A 1722 01:51:14,117 --> 01:51:18,788 SINGLE LINE TO MELT THE STAGE AND THE HEARTS OF MU VERSE. 1723 01:51:18,788 --> 01:51:21,057 PURE SUPERSTAR GREATNESS THAT ONLY OSCAR PROVIDES. 1724 01:51:21,057 --> 01:51:36,039 ♪ 1725 01:51:36,039 --> 01:51:38,207 [ APPLAUSE ] 1726 01:51:38,207 --> 01:51:42,979 >> AND YES, AS WE HAVE BEEN TELLING YOU, LADY GAGA WILL BE 1727 01:51:42,979 --> 01:51:49,252 PERFORMING LIVE ON TONIGHT'S SHOW, TO GIVE US A LITTLE DAY OF 1728 01:51:49,252 --> 01:51:52,188 SHOW EXCITEMENT AND THRILLS WITH A LAST-MINUTE DEVELOPMENT. 1729 01:51:52,188 --> 01:51:55,124 >> FOR THE LAST FEW DAYS, WE THOUGHT SHE WAS OUT AND RIHANNA 1730 01:51:55,124 --> 01:52:02,965 WAS IN. NOW THEY'RE BOTH IN. JUST ONE MORE SURPRISE TO MIX IN. 1731 01:52:02,965 --> 01:52:03,232 CHRIS, THANK YOU. 1732 01:52:03,232 --> 01:52:07,136 >>> COMING UP, WE ARE GOING TO TAKE A LOOK AT THE RACE FOR BEST 1733 01:52:07,136 --> 01:52:10,039 SUPPORTING ACTRESS. WILL ONE OF THE HOLLYWOOD 1734 01:52:10,039 --> 01:52:13,142 VETERANS NOMINATED, ANGELA BASSETT OR JAMIE LEE CURTIS, 1735 01:52:13,142 --> 01:52:18,214 WALK AWAY WITH THE OSCAR TONIGHT? OUR EXPERTS WAY IN WHEN WE COME 1736 01:52:28,891 --> 01:52:31,260 >>> WELCOME BACK TO HOLLYWOOD. WE ARE LIVE FROM OUR GREAT 1737 01:52:31,260 --> 01:52:35,031 POSITION ALONG THE ARRIVALS CARPET AT THE DOLBY THEATRE. 1738 01:52:35,031 --> 01:52:37,100 THE SITE OF TONIGHT'S 95th ANNUAL ACADEMY AWARDS. 1739 01:52:37,100 --> 01:52:40,970 WE'RE STARTING TO SEE A BIT MORE TRAFFIC COMING THROUGH ON THE 1740 01:52:40,970 --> 01:52:43,172 CHAMPAGNE CARPET HERE. HOPEFULLY THE NOMINEES ON THEIR 1741 01:52:43,172 --> 01:52:46,008 WAY ARE NOT HITTING THAT VERY NOTORIOUS L. A. TRAFFIC. 1742 01:52:46,008 --> 01:52:48,344 >> YOU DON'T WANT THAT. THIS IS ONE HOLLYWOOD PARTY THAT 1743 01:52:48,344 --> 01:52:52,148 YOU DON'T WANT TO SHOW UP FASHIONABLY LATE FOR. 1744 01:52:52,148 --> 01:52:57,019 THAT MAY BE JUST ONE OF THE MANY THINGS ON THE MINDS OF THE FIVE 1745 01:52:57,019 --> 01:52:59,255 NOMINATED TONIGHT FOR BEST SUPPORTING ACTRESS. 1746 01:52:59,255 --> 01:53:05,027 HERE IS A REMINDER WHO IS VYING FOR THE OSCAR IN THIS CAD GOIR. 1747 01:53:05,027 --> 01:53:11,100 -- CATEGORY. 1748 01:53:11,100 --> 01:53:14,103 ♪ 1749 01:53:14,103 --> 01:53:19,075 >> DO NOT THINK FOR A SECOND THAT WAKANDA HAS LOST HER 1750 01:53:19,075 --> 01:53:22,945 ABILITY TO PROTECT OUR RESOURCES. 1751 01:53:22,945 --> 01:53:27,950 >> YOU SAY YOU'RE SORRY FOR ONE MORE TIME, I WILL SINK THIS 1752 01:53:27,950 --> 01:53:30,386 KNIFE RIGHT INTO YOU, I SWEAR TO GOD. 1753 01:53:30,386 --> 01:53:34,891 >> WAIT, I DON'T KNOW WHAT 1754 01:53:34,891 --> 01:53:41,397 YOU'RE TALKING ABOUT, DOMINIC. 1755 01:53:41,397 --> 01:53:49,138 >> I SEE A STORY. 1756 01:53:49,138 --> 01:53:56,045 I SEE A STACK OF RECEIPTS THAT I CAN TRACK DOWN YOUR LIVES. 1757 01:53:56,045 --> 01:54:00,383 ♪ 1758 01:54:00,383 --> 01:54:07,023 >> I DON'T THINK YOU UNDERSTAND THE MEANING OF THAT WORD. 1759 01:54:07,023 --> 01:54:11,060 >> I CERTAINLY HAD A LOT OF FUN WHEN I GOT A CHANCE TO SIT DOWN 1760 01:54:11,060 --> 01:54:17,033 WITH ONE OF THOSE NOMINEES. STEPHANIE HSU FROM "EVERYTHING 1761 01:54:17,033 --> 01:54:22,438 EVERYWHERE ALL AT ONCE." TAKE A LOOK. 1762 01:54:22,438 --> 01:54:25,241 >> JOY? WHY DO YOU LOOK SO STUPID? 1763 01:54:25,241 --> 01:54:26,375 >> ARE YOU SUPER EXCITED? 1764 01:54:26,375 --> 01:54:31,080 >> I AM EXCITED. I MEAN, ALL MY FRIENDS ARE IN 1765 01:54:31,080 --> 01:54:31,180 THERE. 1766 01:54:31,180 --> 01:54:34,250 >> IF THERE'S SOMEBODY YOU COULD BUMP INTO ON THE RED CARPET, WHO 1767 01:54:34,250 --> 01:54:36,018 WOULD IT BE? 1768 01:54:36,018 --> 01:54:40,223 >> STEVEN SPIELBERG. I DO FEEL LIKE EXTENDING MY 1769 01:54:40,223 --> 01:54:42,325 GRATITUDE FOR WHAT HE'S DONE FOR THE FILM INDUSTRY. 1770 01:54:42,325 --> 01:54:45,194 >> WHERE WERE YOU WHEN YOU FOUND OUT ABOUT THE NOMINATION? 1771 01:54:45,194 --> 01:54:48,164 >> I WAS ON AN AIRPLANE. I WAS FLYING BACK TO AMERICA 1772 01:54:48,164 --> 01:54:52,368 FROM SYDNEY, AUSTRALIA. I'M FILMING A MOVIE THERE RIGHT 1773 01:54:52,368 --> 01:54:54,337 NOW. MY PHONE JUST STARTED EXPLODING. 1774 01:54:54,337 --> 01:55:00,243 ONE OF MY FRIENDS, SHE WAS THE FIRST ONE WHO JUST SAID LIKE, 1775 01:55:00,243 --> 01:55:01,110 HOLY BLEEP. 1776 01:55:01,110 --> 01:55:04,113 >> I FEEL LIKE THE MOVIE ITSELF IS A WILD RIDE. 1777 01:55:04,113 --> 01:55:11,387 IT'S A DRAMA, COMEDY, BUT ALSO 1778 01:55:11,387 --> 01:55:13,256 AK ACTION PACKED. WHAT DID YOU THINK? 1779 01:55:13,256 --> 01:55:17,460 >> I THINK THE DANIELS AND I ARE CUT FROM THE SAME CLOTH WHEN IT 1780 01:55:17,460 --> 01:55:20,396 COMES TO BIG HEARTED, BIG-THOUGHT STORIES. 1781 01:55:20,396 --> 01:55:24,534 >> HOW DIFFICULT WAS IT? YOU ARE PLAYING TWO TOTALLY 1782 01:55:24,534 --> 01:55:27,370 DISTINCT CHARACTERS. JOY, THE DAUGHTER WHO IS 1783 01:55:27,370 --> 01:55:31,307 DEPRESSED AND STRUGGLING FOR ACCEPTANCE. 1784 01:55:31,307 --> 01:55:35,511 AND THEN YOU'RE JOBU AT THE SAME TIME, THE VILLAIN. 1785 01:55:35,511 --> 01:55:39,248 >> THEY ARE TWO EXTREMES OF THE SAME CORE, AND THAT CORE IS 1786 01:55:39,248 --> 01:55:43,152 NIHILISM. 1787 01:55:43,152 --> 01:55:48,424 >> WHAT IS THE TRUTH? 1788 01:55:48,424 --> 01:55:50,426 >> NOTHING MATTERS. 1789 01:55:50,426 --> 01:55:55,231 >> I HAD TO ALWAYS REMEMBER THAT UNDERNEATH ALL THAT WAS STILL 1790 01:55:55,231 --> 01:55:59,368 THAT SAME DAUGHTER THAT IS JUST LONGING FOR HER MOTHER TO SEE 1791 01:55:59,368 --> 01:55:59,468 HER. 1792 01:55:59,468 --> 01:56:03,272 >> TALK TO ME ABOUT WHAT THIS MEANS AS FAR AS REPRESENTATION. 1793 01:56:03,272 --> 01:56:07,310 BECAUSE THE HEART OF IT, IT'S A STORY ABOUT IMMIGRATION, BUT IT 1794 01:56:07,310 --> 01:56:08,244 GOES SO FAR BEYOND THAT. 1795 01:56:08,244 --> 01:56:14,450 >> IT'S SO WILD, SO BIG HEARTED 1796 01:56:14,450 --> 01:56:17,219 THAT IT TRANSCENDS IDENTITY POLITICS. 1797 01:56:17,219 --> 01:56:20,523 IT BECOMES ABOUT A FAMILY AND IT'S REACHED SO MANY PEOPLE OF 1798 01:56:20,523 --> 01:56:24,060 ALL DIFFERENT BACK GROUNDS AND IS A PIECE OF ART. 1799 01:56:24,060 --> 01:56:27,430 I FEEL EXCITED ABOUT THAT SPACE THAT'S OPENED UP, WHERE WE GET 1800 01:56:27,430 --> 01:56:33,202 TO HAVE A MORE DIVERSE FAB TRICK OF STORYTELLERS, BUT THE THINGS 1801 01:56:33,202 --> 01:56:36,272 WE MAKE DON'T ALWAYS HAVE TO BE ABOUT THE WAYS IN WHICH WE ARE 1802 01:56:36,272 --> 01:56:38,307 DIFFERENT. IT CAN ACTUALLY JUST BE ABOUT 1803 01:56:38,307 --> 01:56:41,210 WHAT'S INSIDE OF US, WHAT WE ARE TRYING TO COMMUNICATE AND HOW WE 1804 01:56:41,210 --> 01:56:42,144 ARE TRYING TO PROCESS. 1805 01:56:42,144 --> 01:56:46,349 >> WHEN YOU WERE DOING THE ROLE, DID YOU FEEL ANY OF THE 1806 01:56:46,349 --> 01:56:48,517 PARALLELS WITH YOUR OWN LIFE, WITH YOU AND YOUR MOTHER? 1807 01:56:48,517 --> 01:56:52,121 >> ABSOLUTELY. I DEFINITELY THINK OUR STORY, 1808 01:56:52,121 --> 01:56:57,193 OUR FILM DOES SUCH A GOOD JOB OF DESCRIBING FIRST GENERATION, 1809 01:56:57,193 --> 01:56:59,528 SECOND GENERATION EXPERIENCE IN AN IMMIGRANT FAMILY. 1810 01:56:59,528 --> 01:57:02,331 THERE WERE DEFINITELY A LOT OF OVERLAPS. 1811 01:57:02,331 --> 01:57:06,168 >> FOR SOME REASON WHEN I'M WITH YOU, I JUST -- IT JUST HURTS THE 1812 01:57:06,168 --> 01:57:11,273 BOTH OF US. 1813 01:57:11,273 --> 01:57:16,212 SO LET'S JUST GO OUR SEPARATE WAYS, OKAY? 1814 01:57:16,212 --> 01:57:21,584 JUST LET ME GO! 1815 01:57:21,584 --> 01:57:26,355 >> WHAT'S REALLY COMPLEX ABOUT HER IS THAT HER ROLE, SHE PLAYS 1816 01:57:26,355 --> 01:57:32,495 SO MANY DIFFERENT CHARACTERS. SO WILL THE MOW MENTUM OF 1817 01:57:32,495 --> 01:57:35,631 "EVERYTHING EVERYWHERE ALL AT ONCE" HELP HER WIN AN OSCAR? 1818 01:57:35,631 --> 01:57:40,403 ALL RIGHT, ELIZABETH, WHO WILL WIN, WHO SHOULD WIN, WHO COULD 1819 01:57:40,403 --> 01:57:40,603 WIN? 1820 01:57:40,603 --> 01:57:43,372 >> WHO WILL WIN? ANGELA BASSETT. 1821 01:57:43,372 --> 01:57:46,342 I THINK SHE'S GOING TO DO THE THING AS EVERYBODY HAS BEEN 1822 01:57:46,342 --> 01:57:49,311 SAYING. NOW, WHO SHOULD WIN? I'M GOING TO GO WITH ANGELA 1823 01:57:49,311 --> 01:57:52,248 BASSETT. I THINK IT IS DUE TIME THAT SHE 1824 01:57:52,248 --> 01:57:56,252 HAS THAT STATUE. NOW, WHO COULD WIN? 1825 01:57:56,252 --> 01:57:59,522 STEPHANIE HSU WAS INCREDIBLE, BUT IF THERE IS GOING TO BE 1826 01:57:59,522 --> 01:58:02,491 ANYONE BESIDES ANGELA, IT WILL BE JAMIE LEE CURTIS. 1827 01:58:02,491 --> 01:58:05,294 THERE'S BEEN A LOT OF MOMENTUM FOR HER. 1828 01:58:05,294 --> 01:58:06,629 >> CLAYTON, YOUR PICKS? 1829 01:58:06,629 --> 01:58:09,598 >> THE MOST WIDE OPEN RACE OF THE NIGHT. 1830 01:58:09,598 --> 01:58:13,436 KERRY CONDON I BELIEVE IS GOING TO WIN THIS ONE FOR "THE 1831 01:58:13,436 --> 01:58:18,240 BANSHEES OF INISHERIN." IT'S THE ONE THAT PEOPLE LOVE. 1832 01:58:18,240 --> 01:58:23,245 INTERNATIONAL VOTE AGAIN. STEPHANIE HSU, IT WOULD BE -- 1833 01:58:23,245 --> 01:58:27,516 SHE'S AN INCREDIBLE PERFORMANCE. BUT THE DARK HORSE, JAMIE LEE 1834 01:58:27,516 --> 01:58:29,218 CURTIS. SHE COULD PULL IT OFF. 1835 01:58:29,218 --> 01:58:33,222 >> NO ANGELA BASSETT FOR YOU? 1836 01:58:33,222 --> 01:58:37,526 >> NO. LISTEN, IN A JUST WORLD. 1837 01:58:37,526 --> 01:58:40,362 BUT HER MOVIES FACE A LOT OF BIASES. 1838 01:58:40,362 --> 01:58:44,500 >> PROVEN BY HER BEING THE FIRST MARVEL ACTOR TO BE NOMINATED FOR 1839 01:58:44,500 --> 01:58:45,468 AN OSCAR. 1840 01:58:45,468 --> 01:58:50,506 >> YOU MADE THIS EVEN MORE COMPETITIVE. THANKS TO YOU BOTH. 1841 01:58:50,506 --> 01:58:53,709 WHEN WE COME BACK, WE'LL HEAR FROM THE ACTOR WHO SAYS HIS 1842 01:58:53,709 --> 01:58:57,546 CAREER WAS DEAD FOR YEARS AFTER HIS EARLY SUCCESS AS A CHILD 1843 01:58:57,546 --> 01:58:59,548 STAR. BUT TONIGHT, HE'S A VERY HAPPY 1844 01:58:59,548 --> 01:59:01,383 OSCAR NOMINEE. STAY WITH US. 1845 01:59:12,428 --> 01:59:17,366 >>> OF COURSE, THE CARPET IS NOT RED THIS YEAR, BUT IT'S ABOUT TO 1846 01:59:17,366 --> 01:59:20,503 GET RED HOT AS THE BIGGEST STARS ARRIVE AT THE 95th ANNUAL 1847 01:59:20,503 --> 01:59:22,638 ACADEMY AWARDS. WE ARE LIVE OUTSIDE THE DOLBY 1848 01:59:22,638 --> 01:59:25,541 THEATRE FEELING THE EXCITEMENT GROW. 1849 01:59:25,541 --> 01:59:30,513 >> THE CHAMPAGNE CARP ETD. THEY'VE BEEN ALL OFFER, SO IT'S 1850 01:59:30,513 --> 01:59:33,449 PRISTINE ON THE CARPET TODAY. WELCOME BACK TO OUR ABC COVERAGE. 1851 01:59:33,449 --> 01:59:35,584 WE ARE THE OFFICIAL HOME OF THE OSCARS, OF COURSE. 1852 01:59:35,584 --> 01:59:39,488 SO DON'T CHANGE THE CHANNEL ON THIS OSCAR SUNDAY. 1853 01:59:39,488 --> 01:59:42,424 RIGHT NOW, WE TURN TO THE RACE 1854 01:59:42,424 --> 01:59:48,664 FOR BEST SUPPORTING ACTOR. 1855 01:59:48,664 --> 01:59:53,369 FEATURING FOUR FIRST-TIME NOMINEES AND ONE VETERAN WHO HAS 1856 01:59:53,369 --> 01:59:55,538 BEEN HERE BEFORE. 1857 01:59:55,538 --> 01:59:58,340 ♪ 1858 01:59:58,340 --> 02:00:02,645 >> I DON'T WANT TO HURT YOUR FEELINGS, BUT I DON'T LIKE YOU. 1859 02:00:02,645 --> 02:00:06,649 IT FEELS LIKE THIS IS THE ONLY OPTION LEFT OPEN TO ME. 1860 02:00:06,649 --> 02:00:11,387 >> YOU HAVE LOADS OF OPTIONS LET OPEN TO YOU. 1861 02:00:11,387 --> 02:00:15,758 >> ART IS NO GAME. ART IS AS DANGEROUS AS A LION'S 1862 02:00:15,758 --> 02:00:23,432 MOUTH. IT WILL BITE YOUR HAND OFF. 1863 02:00:34,510 --> 02:00:39,481 >> YOU PROBABLY WOULD NEVER WANT TO, I DON'T KNOW, FALL IN LOVE 1864 02:00:39,481 --> 02:00:45,554 WITH A BOY LIKE ME, WOULD YOU? 1865 02:00:45,554 --> 02:00:49,491 >> I JUST REMEMBER LOOKING IN HER EYES. 1866 02:00:49,491 --> 02:00:54,430 IT WAS LIKE SHE WAS SAYING, BYE. 1867 02:00:54,430 --> 02:00:59,501 SEE YOU LATER. 1868 02:00:59,501 --> 02:01:01,470 >> SO MANY GREAT PERFORMANCES THIS YEAR. 1869 02:01:01,470 --> 02:01:05,741 AND ONE OF THOSE NOMINEES, ALREADY HAVING A GREAT AWARDS 1870 02:01:05,741 --> 02:01:10,779 SEASON IS KE HUY QUAN, THE TALENTED ACTOR WHO PLAYS THE 1871 02:01:10,779 --> 02:01:12,848 BELEAGUERED HUSBAND IN THE FILM "EVERYTHING EVERYWHERE ALL AT 1872 02:01:12,848 --> 02:01:14,817 ONCE." HERE HE IS WITH KELLY CARTER. 1873 02:01:14,817 --> 02:01:18,420 >> KE, CONGRATULATIONS ON THE OSCAR NOMINATION. 1874 02:01:18,420 --> 02:01:20,522 >> THANK YOU, THANK YOU, THANK YOU. 1875 02:01:20,522 --> 02:01:22,625 I CANNOT BELIEVE I'M AN OSCAR 1876 02:01:22,625 --> 02:01:32,434 NOMINATED ACTOR! 1877 02:01:32,434 --> 02:01:37,907 >> YOU MAY BE IN GRAVE DANGER. NO TIME TO EXPLAIN. HOLD THIS. 1878 02:01:37,907 --> 02:01:39,441 >> WHAT ARE YOU DOING? 1879 02:01:39,441 --> 02:01:40,476 >> PAY ATTENTION. 1880 02:01:40,476 --> 02:01:44,513 >> OH, MY GOD, EVER SINCE THE MOVIE CAME OUT, THIS WHOLE 1881 02:01:44,513 --> 02:01:47,850 JOURNEY HAS BEEN SO EMOTIONAL. I GOT EVERYTHING I WANT, LANDING 1882 02:01:47,850 --> 02:01:51,654 THIS ROLE, BEING IN A MOVIE WITH MICHELLE YEOH. 1883 02:01:51,654 --> 02:01:55,491 THE AUDIENCE RESPONDING WITH SO MUCH POSITIVITY AND KINDNESS 1884 02:01:55,491 --> 02:01:58,761 WITH MY RETURN, AND NOW THIS IS -- WOW, I'M SO GRATEFUL. 1885 02:01:58,761 --> 02:02:01,630 >> WHAT DOES THIS MOMENT FEEL LIKE FOR YOU, ESPECIALLY AT THIS 1886 02:02:01,630 --> 02:02:02,698 POINT IN YOUR CAREER? 1887 02:02:02,698 --> 02:02:05,935 >> YOU KNOW, FIRST OF ALL, I WASN'T EXPECTING THIS. 1888 02:02:05,935 --> 02:02:09,939 WHEN I GOT THE ROLE OF RAYMOND, I WAS SO EXCITED. 1889 02:02:09,939 --> 02:02:14,510 IT WAS VERY A DREAM COME TRUE. I ALREADY FELT LIKE I WON THE 1890 02:02:14,510 --> 02:02:16,578 LOTTERY. TO BE ABLE TO DO THIS AGAIN, YOU 1891 02:02:16,578 --> 02:02:19,748 KNOW, STEPPING AWAY WAS PAINFUL FOR ME. 1892 02:02:19,748 --> 02:02:25,788 SO TO BE ABLE TO BE BACK IN FRO FRONT OF THE CAMERA AGAIN, I 1893 02:02:25,788 --> 02:02:29,491 DON'T WANT TO TAKE FOR GRANT IT HOW THIS FEELS FOR ME. 1894 02:02:29,491 --> 02:02:32,895 >> TALK TO ME ABOUT STEPPING AWAY. 1895 02:02:32,895 --> 02:02:36,699 MAYBE IT'S NOT THAT YOU STEPPED AWAY, BUT YOU DIDN'T SEE A LOT 1896 02:02:36,699 --> 02:02:39,868 OF OPPORTUNITIES FOR AN ACTOR THAT LOOKED LIKE YOURSELF. 1897 02:02:39,868 --> 02:02:41,537 WHAT HAPPENED TO YOU? 1898 02:02:41,537 --> 02:02:43,772 >> I WAS LUCKY WHEN I STARTED MY CAREER. 1899 02:02:43,772 --> 02:02:48,644 STEVEN SPIELBERG GAVE ME NOT ONE, BUT TWO AMAZING MOVIES. 1900 02:02:48,644 --> 02:02:53,849 "INDIANA JONES" AND "THE GOONIES." 1901 02:02:53,849 --> 02:02:55,751 I THOUGD I HT I WOULD HAVE AN AMAZING CAREER AFTER THAT. 1902 02:02:55,751 --> 02:02:57,820 BUT I HAD TWO THINGS GOING AGAINST ME. 1903 02:02:57,820 --> 02:03:01,757 ONE, IT'S DIFFICULT TO TRANSITION FROM A CHILD TO ADULT 1904 02:03:01,757 --> 02:03:05,594 ACTOR. AND SECOND, BACK THEN, BEING AN 1905 02:03:05,594 --> 02:03:08,664 ASIAN ACTOR WAS VERY DIFFICULT, BECAUSE THERE WAS JUST NOT A LOT 1906 02:03:08,664 --> 02:03:13,936 OF OPPORTUNITIES FOR US. WHEN EVERYONE IN THEIR LATE 1907 02:03:13,936 --> 02:03:18,574 TENS AND EARLY 20s AND THE WHOLE FUTURE IS AHEAD OF THEM, 1908 02:03:18,574 --> 02:03:20,943 ALL I SAW FOR MYSELF WAS A DEAD END. 1909 02:03:20,943 --> 02:03:23,746 THERE WAS NO ROLE FOR ME TO GO ANY FURTHER. 1910 02:03:23,746 --> 02:03:27,683 THAT WAS A VERY CONFUSING TIME. I WAS SO LOST. 1911 02:03:27,683 --> 02:03:33,655 I DIDN'T KNOW WHAT WAS GOING TO HAPPEN. YOU KNOW, I WAS VERY 1912 02:03:33,655 --> 02:03:36,058 DISSPIRITED. STEPPING AWAY WAS MY ONLY CHOICE. 1913 02:03:36,058 --> 02:03:38,961 >> WHAT WAS IT LIKE WHEN YOU GOT THE CALL FOR THIS ROLE? 1914 02:03:38,961 --> 02:03:42,664 WHAT DID THAT FEEL LIKE FOR YOU? DID THAT FEEL LIKE A WELCOME 1915 02:03:42,664 --> 02:03:42,765 BACK? 1916 02:03:42,765 --> 02:03:45,667 >> IT WAS ONE OF THE GREATEST DAYS OF MY LIFE. 1917 02:03:45,667 --> 02:03:48,670 IT WAS THE BEST PHONE CALL THAT I'VE EVER GOTTEN IN THE LAST 30 1918 02:03:48,670 --> 02:03:53,942 YEARS. I WAS SCREAMING AT THE TOP OF MY 1919 02:03:53,942 --> 02:03:57,780 LUNGS, JUMPING UP AND DOWN. MY WIFE WAS IN THE NEXT ROOM. 1920 02:03:57,780 --> 02:04:00,682 SHE CAME RUNNING IN, NOT KNOWING WHAT WAS GOING ON. 1921 02:04:00,682 --> 02:04:04,953 I WAS ON THE PHONE WITH MY AGENT, AND MY "GOONIES" BROTHER, 1922 02:04:04,953 --> 02:04:07,756 JEFF COHEN. THEY WERE TELLING ME THE GOOD 1923 02:04:07,756 --> 02:04:09,958 NEWS. SHE CAME RUNNING IN, AND THE 1924 02:04:09,958 --> 02:04:15,064 MINUTE SHE SAW ME, I HAD -- I HAD TEARS COMING DOWN BY EYES. 1925 02:04:15,064 --> 02:04:17,866 WE DIDN'T EVEN HAVE TO SPEAK ONE WORD. 1926 02:04:17,866 --> 02:04:19,835 SHE CAME OVER AND GAVE ME THE BIGGEST HUG. 1927 02:04:19,835 --> 02:04:24,006 SHE ALREADY KNEW THAT I GOT THE ROLE. AND HERE I AM. 1928 02:04:24,006 --> 02:04:27,576 >> YES, HERE YOU ARE. THE VICTORY HAS ALREADY 1929 02:04:27,576 --> 02:04:29,678 HAPPENED, BECAUSE YOU'RE HERE WITH THIS NOMINATION. 1930 02:04:29,678 --> 02:04:34,917 IT'S AMAZING AND PEOPLE ARE CELEBRATING YOU WHEREVER YOU GO. 1931 02:04:34,917 --> 02:04:38,020 BUT IF YOU WIN THE OSCAR FOR THIS ROLE, WHAT WILL THAT SAY TO 1932 02:04:38,020 --> 02:04:39,955 YOU AND WHAT WILL THAT MEAN FOR YOU? 1933 02:04:39,955 --> 02:04:44,693 >> OH, MY GOSH, I HAVEN'T GIVEN THAT A THOUGHT YET, AND I DON'T 1934 02:04:44,693 --> 02:04:49,631 WANT TO GET AHEAD OF MYSELF. BUT TO BE COMPLETELY HONEST, 1935 02:04:49,631 --> 02:04:53,802 GETTING THIS NOMINATION WAS SUCH A HUGE WIN. 1936 02:04:53,802 --> 02:04:57,706 THINGS ARE SO DIFFERENT FOR ME NOW THAN THEY WERE WHEN I WAS 1937 02:04:57,706 --> 02:05:00,876 MUCH, MUCH YOUNGER. THIS YEAR ESPECIALLY. 1938 02:05:00,876 --> 02:05:06,715 WE GOT FOUR ASIAN ACTORS BEING NOMINATED IN MAJOR ACTING CAT 1939 02:05:06,715 --> 02:05:14,623 GOIS -- CAT GOEGORCATEGORIES. 1940 02:05:14,623 --> 02:05:16,658 IT ENFORCES MY LEAF THAT CHANGE CAN HAPPEN. 1941 02:05:16,658 --> 02:05:19,027 I'M SO GRATEFUL TO EVERYONE THAT CONTRIBUTED TO THIS CHANGE. 1942 02:05:19,027 --> 02:05:22,631 >> IF JUST HEARING THAT HE GOT THE ROLE WAS ONE OF THE BEST 1943 02:05:22,631 --> 02:05:25,801 DAYS OF HIS LIFE, IMAGINE WHAT TONIGHT FEELS LIKE. 1944 02:05:25,801 --> 02:05:27,202 KELLY'S BACK WITH US WITH CHRIS CONLEY. 1945 02:05:27,202 --> 02:05:32,674 TELL US, IS THIS DREAM FOR KE HUY QUAN ABOUT TO GET EVEN 1946 02:05:32,674 --> 02:05:33,041 BETTER TONIGHT? 1947 02:05:33,041 --> 02:05:39,748 >> I MEAN, I HOPE SO. WATCHING THAT SEGMENT AGAIN GOT 1948 02:05:39,748 --> 02:05:44,653 ME ALL EMOTIONAL ALL OVER AGAIN. I WANT TO SEE HIM WALK AWAY WITH 1949 02:05:44,653 --> 02:05:45,053 THE WIN TONIGHT. 1950 02:05:45,053 --> 02:05:50,025 >> JUST A PHENOMENAL INTERVIEW BY KELLEY BY THE WAY. 1951 02:05:50,025 --> 02:05:54,062 I FEEL LIKE I'M SNEEZING IN THE PUNCH BOWL HERE. 1952 02:05:54,062 --> 02:05:56,932 YOU CAN LOVE HIS JOURNEY AND PERFORMANCE, YOU CAN LOVE 1953 02:05:56,932 --> 02:06:00,002 EVERYTHING THAT HE'S BROUGHT TO THIS OSCARS SEASON AND STILL 1954 02:06:00,002 --> 02:06:03,372 THINK THAT BARRY KEOGHAN FROM "THE BANSHEES OF INISHERIN" GAVE 1955 02:06:03,372 --> 02:06:07,809 THE BEST PERFORMANCE, AND WILL WIN THE OSCAR FOR BEST 1956 02:06:07,809 --> 02:06:10,145 SUPPORTING ACTOR, WHICH IS WHAT I BELIEVE. 1957 02:06:10,145 --> 02:06:13,148 HIS SCENE WITH KERRY CONDON IS ONE OF THE BEST SCENES IN MOVIES 1958 02:06:13,148 --> 02:06:17,886 ALL YEAR, AND THIS ACADEMY WILL SHOCK THE WORLD AND ACKNOWLEDGE 1959 02:06:17,886 --> 02:06:18,687 THAT TONIGHT. 1960 02:06:18,687 --> 02:06:26,094 >> I KNEW YOU WERE GOING TO DO THAT. FOR ME, IT'S KEOGHAN. 1961 02:06:26,094 --> 02:06:30,732 IF ANYONE ELSE COULD COME THIS THERE AS A DARK HORSE, IT WOULD 1962 02:06:30,732 --> 02:06:43,078 BE BRIAN TYREE HENRY. 1963 02:06:43,078 --> 02:06:52,087 >> YHE DID CERAMICS ON "THE 1964 02:06:52,087 --> 02:06:52,254 BULLETTRAIN." 1965 02:06:52,254 --> 02:06:57,960 >> I JUST GOT TO SAY, KELLEY, EVERY TIME KE OPENS HIS MOUTH, 1966 02:06:57,960 --> 02:07:00,963 IT'S SO INSPIRING WHEN HE TALKS ABOUT HIS JOURNEY. 1967 02:07:00,963 --> 02:07:03,999 HOW DID YOU KEEP A DRY EYE WHEN YOU WERE TALKING TO HIM? 1968 02:07:03,999 --> 02:07:06,768 >> IT WAS HARD. HONESTLY, I PROBABLY, OVER THE 1969 02:07:06,768 --> 02:07:09,938 COURSE OF MY CAREER, HAVE ONLY SHED A TEAR MAYBE TWO OR THREE 1970 02:07:09,938 --> 02:07:12,874 TIMES ON INTERVIEWING SOMEBODY. THIS IS ONE OF THOSE TIMES FOR 1971 02:07:12,874 --> 02:07:15,978 SURE. IT WAS VERY, VERY DIFFICULT NOT 1972 02:07:15,978 --> 02:07:18,080 TO BE EMOTIONAL WITH HIM, ESPECIALLY HEARING ABOUT HIS 1973 02:07:18,080 --> 02:07:21,016 JOURNEY AND WHAT IT WAS LIKE GETTING HERE AND HOW EXCITED HE 1974 02:07:21,016 --> 02:07:23,185 WAS TO BE THERE. AND THEN SEEING HIM IN THE ROOM 1975 02:07:23,185 --> 02:07:27,823 WITH ALL THE OTHER FAMOUS NOMINEES, TRYING TO GET A SELFIE 1976 02:07:27,823 --> 02:07:29,958 WITH HIM. THAT WAS ALSO INCREDIBLE. 1977 02:07:29,958 --> 02:07:31,927 PEOPLE SEE HIM AS A SUPERSTAR THIS SEASON. 1978 02:07:31,927 --> 02:07:34,029 >> GOING TO BE A BIG MOMENT, GUYS. 1979 02:07:34,029 --> 02:07:40,969 >> I'M A FAN. I KNOW WE WOULD LIKE TO SEE A 1980 02:07:40,969 --> 02:07:42,137 SPEECH TONIGHT. 1981 02:07:42,137 --> 02:07:47,276 >> THANKS TO THE BOTH OF YOU. WE ARE NOT DONE WITH OUR OSCARS 1982 02:07:47,276 --> 02:07:49,211 PREDICTIONS. WHEN WE RETURN, WE'LL FIND OUT 1983 02:07:49,211 --> 02:07:51,313 WHICH FILM IS FAVORED TO TAKE HOME THE BIGGEST PRIZE OF THE 1984 02:07:51,313 --> 02:07:53,949 NIGHT. STICK AROUND. 1985 02:08:04,092 --> 02:08:08,230 ♪ 1986 02:08:08,230 --> 02:08:11,833 >>> BACK NOW ON THE RED CARPET HERE AT THE DOLBY THEATRE IN 1987 02:08:11,833 --> 02:08:14,036 HOLLYWOOD, AS WE COUNT DOWN TO TONIGHT'S OSCARS. 1988 02:08:14,036 --> 02:08:16,271 ALL THE EXCITEMENT IS BEING BROAD CAST TO YOU LIVE RIGHT 1989 02:08:16,271 --> 02:08:18,940 HERE ON ABC, LEADING UP TO TONIGHT'S BIG SHOW. 1990 02:08:18,940 --> 02:08:21,943 >> IT IS TIME FOR US TO TALK ABOUT THE BIGGEST PRIZE OF THE 1991 02:08:21,943 --> 02:08:24,146 NIGHT. IT'S ALL BEEN LEADING UP TO THIS. 1992 02:08:24,146 --> 02:08:28,250 BEST PICTURE, WE'RE BRINGING ALL THE CONTRIBUTORS BACK TO ONE 1993 02:08:28,250 --> 02:08:30,952 PLACE. LET'S REMIND EVERYONE OF THE TEN 1994 02:08:30,952 --> 02:08:32,821 NOMINATED FILMS. 1995 02:08:32,821 --> 02:08:35,891 >> WITH THE TIME WE HAVE LIST, LET'S JUST CUT TO THE CHASE. 1996 02:08:35,891 --> 02:08:38,260 WHO IS GOING TO TAKE HOME BEST PICTURE? 1997 02:08:38,260 --> 02:08:40,796 >> "EVERYTHING EVERYWHERE ALL AT ONCE," PERIOD. 1998 02:08:40,796 --> 02:08:43,932 THAT IS WHO IS WINNING. 1999 02:08:43,932 --> 02:08:46,835 >> "ALL QUIET ON THE WESTERN FRONT" AND A BIG SURPRISE, 2000 02:08:46,835 --> 02:08:51,239 LOOKING FOR THE AUDIENCE THAT ISN'T GOING TO VOTE FOR 2001 02:08:51,239 --> 02:08:55,177 "EVERYTHING EVERYWHERE ALL AT ONCE." I SEE THE FOLKS MY AGE WHO 2002 02:08:55,177 --> 02:08:58,246 COULDN'T HANDLE ALL THAT TIKTOK STUFF IN "EVERYTHING EVERYWHERE 2003 02:08:58,246 --> 02:08:58,413 ALL AT ONCE." 2004 02:08:58,413 --> 02:09:02,951 >> I'M WITH MY GIRL, KELLEY CARTIER, "EVERYTHING EVERYWHERE 2005 02:09:02,951 --> 02:09:03,118 ALL AT ONCE." 2006 02:09:03,118 --> 02:09:08,123 >> "EVERYTHING EVERYWHERE ALL AT ONCE," BUT ALSO "TOP GUN: 2007 02:09:08,123 --> 02:09:08,256 MAVERICK." 2008 02:09:08,256 --> 02:09:11,993 >> I'M GOING WITH THE GIRLS, "EVERYTHING EVERYWHERE ALL AT 2009 02:09:11,993 --> 02:09:12,260 ONCE," ALL FOR THE WIN. 2010 02:09:12,260 --> 02:09:18,200 >> EXACTLY. 2011 02:09:18,200 --> 02:09:22,037 >> I LIKE "TOP GUN" AS A SLEEPER PICK, BUT I'M GOING "EVERYTHING 2012 02:09:22,037 --> 02:09:22,270 EVERYWHERE ALL AT ONCE." 2013 02:09:22,270 --> 02:09:26,908 >> I THINK IT'S "EVERYTHING EVERYWHERE ALL AT ONCE" TOO. 2014 02:09:26,908 --> 02:09:30,245 WE WANT TO THANK OUR CONTRIBUTORS, AS ALWAYS, FOR 2015 02:09:30,245 --> 02:09:33,215 JOINING US. WE'LL SEE WHO IS RIGHT TONIGHT. 2016 02:09:33,215 --> 02:09:37,252 >> OF COURSE, OUR COVERAGE CONTINUES HERE ON ABC TELEVISION 2017 02:09:37,252 --> 02:09:42,224 IN JUST 30 MINUTES. WE'RE BACK LIVE FOR TWO MORE 2018 02:09:42,224 --> 02:09:46,161 HOURS ON ABC NEWS LIVE. WE'RE EXPECTED TO HAVE LIVE 2019 02:09:46,161 --> 02:09:48,230 INTERVIEWS WITH SEVERAL NOMINEES. DON'T MISS THAT. 2020 02:09:48,230 --> 02:09:52,367 WHEN THAT ENDS AT 6:30 P. M., SWITCH BACK OVER TO ABC 2021 02:09:52,367 --> 02:09:56,304 TELEVISION FOR THE PRESHOW, WHICH LEADS RIGHT INTO TONIGHT'S 2022 02:09:56,304 --> 02:09:58,440 TELECAST OF THE 95th ANNUAL ACADEMY AWARDS. 2023 02:09:58,440 --> 02:10:03,145 >> FOR NOW, WE WANT TO THANK YOU ALL AT HOME FOR JOINING US. 2024 02:10:03,145 --> 02:10:07,949 ON BEHALF OF WHIT JOHNSON AND OUR CREW HERE AT ABC NEWS, I 2025 02:10:07,949 --> 02:10:10,118 FILE LIKE WE SHOULD DO A LITTLE TOAST. 2026 02:10:10,118 --> 02:10:12,154 >> FROM THE CHAMPAGNE CARPET. 2027 02:10:12,154 --> 02:10:18,093 >> GUYS, THANK YOU SO MUCH. HAVE A WONDERFUL OSCARS SUNDAY. 2028 02:10:40,182 --> 02:11:00,368 ♪ 2029 02:11:00,368 --> 02:11:22,390 ♪ 164143

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